Variety (July 1921)

TTf A -» k 36 PICTURES V \^^ Friday, July 22, 1921 SIGN ON THE DOOR M t A ' [..iff' K('4;M.a • • ■ I .iitL'" Uc'Kun I'i'ii'k Uovcrcatu . . . . I >;oiicl (iaunt ...>... I'iMgumjn ' Kiik ' (.'allalian. . . . lloli'li ItcKufi Alun Ctiurrhill M:ir.i*>ri4' Hlakc WliitiiiK. l>iHt Attr- ' ?'•- .HMtiir 'Cri'^v^^. . ^. i;;ili-s, 1^-Ka.n buiicr. .Norma Talmadve .C'harlPB Ulchman I^w ('odjr .... Uarld Proctui . Augustus liaKuur Mack Uarnoa Il.-lon Weir .. . .Aobfrt Annew .Martlnle Uurnlay . . .Paul IfrAiliMtvr . . . l.««w lit'.ulncka ....W^aller Uui»«el The play of this nam© by ('ban- ning l»oll^rk vvaK a Hroadway hit. Tins First. Naiional feature pren^ntM bv .Josof)h M. Srlseiuk at the Strand ^Tilh N iiiiia Talniodsi- Ktarred followH rlo.sclv thp iinp.^ of the play and the iv-:;ilt is a \T\t-UnlrautA suited to the j;iark('l. Hut it fails to loose^ your .nthusiaKin, to Hlarl the not it sbooKL WhvV Thi' (lirvction. On the con- Jiiuiilv Mary Miirillo eoilaoorated with llpibort Hiinon and between them llioy munajcpd at time* It carry the :». tion forwiird almost entirely by use .»f titl<'s. n bud and irritatinjf fault. Mr. Ui<'u<»:rs direction is the Bort of dirottiou criticized in Engliah ^\m offering-s, ktilted. set, inelastic. He sreinh to feel himself constantly con- lined within the foi^r walls of the speaking stage. HU touch is aPP*'- ♦ 111 in the acting, too. Miss Tal- ir.adge'.s reputation reata on her ii:»turalnes8, the simple, straight-for- ward wistful appeal she gets onto the - rrrn. Hut. thanks probably to the .jircninB. bhe is here at times so / iiuuli the acUets it is apparent to a >kille<l observer. The careless iibandon that is life itself ha« pven way to a trained, well thought out j.ttpnii>t to make a graceful picture. The .ntteuipt aucreeda. but for popu- liif purposes is regrettable. What has happened in a far les- ser degree to Misa Talmadge almost ruins Tharlea Hichman'a perform- ance. One of the ableat leadii^f men. in (his picture he stalks, atruta, iv forever a reminder of the artificial- ity so necessary to aToid in artistic ropieji of the action of life. I^w t'ody cKcupes the general feeling ao i:<>lic('ul>le elHewhere in this produc- lioii. So docs Paul McAllister, and little Helen Weir was a hugable sub- d.b uli the way. As an example of >vli:it hnifpened, take the comedy relief in the Kcene among the youngsters wliere I he boy and girl quarrel. Bliss Weir cume through it safely, but Uohert Agnew acted as if he had re- rrearsed it 100 times before he ap- prared sufficiently ridiculoun to suit ii»e produ<ti'»n judee. As a background to all these ob- j<'<tion.s is the opinion of the bac*k- Kroundss tbemftelves. For a time in- .scrt.H were made so "artistic." eo much over-decorated it was hard to read the titles. Now lyoducers are enc'turaging a new fault, "artistic" scene sets and photography. Many of the scenes in **The Sign on the Door" are so shaded, bleiided. faded, Bs to oh'cure the action. In those half lighted interiors it is difficult to i;ueas. let alone know, exactly what is going on. but at the end when Mr. Hrenon bc^an concentrating on that final cross i>xamination In* showed uiarked Hkill. emphasising each point up to the punch—the "l believe .vou" of the Oi.strict Attorney. This scored. The story is well known*. Dever- caiix. ^on of a rich niun. tries to fake advtmtare of his father's stc- Do^ra|)hcr. The result is something cnihHrru.sMing to her when she at- truipts ycar.s later to fencue her step- diMightcr from this same man. The hi? Hittintion is when her husband kil!& Oevereaux in self-defens»« '-^^ knowing his wife is on the premises, and the final action is n swift, tense clc.'iring of the whole siliiation. F/eed. Rum Uascanf. . . Antonio Tiuaullo. Marc* Maacanl. . Father Kelly Anna *—•CC I. ............ lilajtca WHO AM I? Ruth Itiirnii VlrtntM l>anforth .1 iinmy ^^^M\•PI• . . .loliii <'ollin^ J:i(-lU's Marbof . Win '/oltz .('lairo Andfraon . . .(Jprli Ufle Asbor N loji W<»|ch . .«ipi>r(ii' T'uriolut ..Inaopli !>(wirkar<l . . . .Ottu llorfman Lewis J. Selznick production re- leat'ed through National rictures. Inc., authorshii) credited to Max Brand. Bcreen version by Katheriae'Reed, di- rcrted hy Henry KoJker. St^ry cen- (ers uround boarding school bred liauKhtt'r of a professional gambler. Tier father's identity is unknown to the cirl until his death when she is made his sole heir and inherits his K:imhling establishment. Tliis she en- fiiavors to operate in order to repay her father's manager for an alleged l')au in:i(li> just prior to his death. A love afTuir springs up between the girl and one of the hangers-on around the et-tablishinent. the chap endeavoring t,i give her the right niode of operat- ing the place. There are several mystery angles introduced with the mnin one. the real identity of the girl whose lack of knowledge of her par- ents keeps her asking (lueHti)ns con- tinually as to her real identity. Tlir stor^ fiM originally framed has the girl the daughter of a recluse while ai< worked out in the picture version she is left (he daughter of the ^ain- bler. The lc>ve Kt«»ry is worked out with the inevitahle finisii with the girl and sweetheart giving up the gamhlifig business when nuirri(>d. .^rlznick has selr'cted two i»ractically unknown play- ers for his leads, t'laire Anderson. as the girl, is apparently lacking in erperience to handle a lending r )le with \ile.< Welch in a juvenile lead having had somewhat greater experi- ence, but is inclined to over ac^t bia |iart having a certain chestyuesii Ttbout his work tliat detracts. The remainder of the cast (its iu well enough witb their parU», although the picture is not heavily furlific*d in any of it« act- ing. Kolker has directed it in a aat- istyiog manner, making as m^ch out of H weak t,tory and a light cast as cculd be expected. The pcoducrtion end standbi up nicely being the pic- ture's main asset. "Who Am 1'/" can be termed only a fair pfvXf'am pic- LITTLE ITALY AiioA Brady Norman Kerry Ucorffe Fawc«it Jack Rldffway .. ..CiertnMle Norman ^... Luis Albernl ... Marguerite Fprresl Realart preseoU "Little Italy/' an intereaUog character comedy-drama, at the Uivoli this week. It is the work of Frederic and Fannie Hatton, starring Alice Brady, who makes a remarkably cronvincing Italian girl. George TerwIlUger directed the pro- duction, while Peter Milne adapted the atory to the screen. The story i« really a modern genre version of "Romeo and Juliet," set ia an Italian colony, presumably in Jer- sey or Staten Island, and takea its principal interest froos the amusing pre>9entatien of lypcfs. One of the beat of them is done by Creorge Faw- cett aa the father of the heroine, a new departure for that sterling actor. Tht^ Hattons, who wrote "Lmi* bardi, Ltd.." know their Latm#gtkmer- icans, and this screen cre^^ion always has the stamp of authenticity ^nd sincerity. Perhaps the JMickgrounds are a bit untidy and unpicturesque but the people themselves are very real and interestiag and ^he atory holds interest to the end, with sev- eral good dramatic momenta and capital comedy incidents. Ilosa Moaeani (Miss Brady) ia a headstrong girl wooed by "The Fox," a political leader of the colony. Her family has brought to America a blood feud with the Tumilios, resi- dents in the same suburban village. Antonio TumiUo returns a hero from the European war, and liosa, dis- guised as a boy, attends a mas- querade ball given in his honor. An- tonio falls in love with Rosa, but she hates him with all the violence of a Latin feudist. Because she refuses all suitors Rosa's father ia about to drive her from home, when «he vows she will wed the first man she meets. The man happens to be Antonio. They are married with the aid of a priest who hopes (in the manner of Friar Law- rence) to heal the feud. It's an un- nappy honsehold. Rosa refuses to be reconciled to her husband, who pa- tiently hopes her bitterness will some day vanish. Rosa, after a few months away, takes refuge with a cousin in the Bronx. Here her baby is born. Meanwhile "The Fox" secretly spreads the word among tbe vil- lagers that Antonio has done away with Rosa, and a mob goes to An- tonio's house to deal out justice. With the baby in her arms, Rosa makes np her mind that she really loves Antonio and is traveling back to him. Hhe reaches the village just as the angry mob is closing in on An- tonio. The fight on the street is at its height when Rosa passes by iu a vil- lage taxi and by her appearance alive rescues her husband. The happy finale thereupon (?omes al^out. The picture ia ultra modern and doubtless an intimate sketch of Ital- ian life around the metropolis. There is nothing of the squalid immigrant atmosphere. All the cMiaracters are well off. The Mo.scanis are well-to- do florists and have their own cars. Hut the truck farming farmers are a dingy lot and there is little of beauty in the locale of the picture. This is its only defect, for the story iji interesting and the character sketches clear cut. Rush. THE SILVER CAR Anthonr Tr^nt >;. Karle Williams Daphne Grenvil Kathljm A<Um« Arthur Oreiivil Ueortrcy Webb C^ount Michael TonicHvar. . . .Krk- Mayne Karl of Rosecarrel Kmm.>tt Klnv nf"""*^ -Mona I.I; Vicar.- public life becauae Count Michael of Malmatia holds a political paper; the American goes to Malmatia tq, socure the paper and does so after a seriea of impoMHiblv dariag ordeals; the mis- treas of Count Michael of Malmatia falls in love with the American and is (diot for aiding him and in tbe end the American marries the dasgkter of tbe Barl. It might also bo saeataonetf that her brother is saffering froQ' sbrtlshock and doesn't remember the Amcican's confession. The proletariat are sure to reral in the international political intrignoa concerning "the papers" sod tbe pal- pably fake overturning of an auto- mobile, a terrific dive by the hero from a cliff into the water, and so on. Bat, aa before remarked, ip the more popu- lar-priced cinemas the Audiancaa will devour the atory voracioosly. It is aU about people in "aodety' and the atmosphere of •RngUah "high life** is depicted as we fondly believe it ia. Earl Williama ia faia usual stilted self, cinematographicallj corect, im- macrulately clad, even when he dis- auisea himself as a chauffer aiyl his foHowers will continne to think be is ''just grand*' aa the hero-«rook. Brie Mayne as Coivnt Michael, givea a fine portrayal of the haughty^ MalsMtiaB villain; Kathlvn AJama ia awectly plump as the neroine, Bmmett Kiag ia sufficiently dignified aa the Earl and Geoffrey Webb is a pleaalng javenile. The direction, aettinga, photography and lighting are of a very high order. Jolo, STBAIOHT rmOML PABI8 If«>ntzl Colonel [^anvlpy. . .John Stppplinc Max Afllicr . .Walter RodBira The general run of picture-goers will enjoy the "suspense" of 'The Sil- ver Car," written by Wyndham Mar- tyn, directed by David Smith—a Vi- tagraph production starring Earle Williams. To the sopbisticated—that is those who patronise the better grade of first-run houses, the feature will he regarded as melodramatic claptrap. An intenational crook with a rewarci of l^.l.tMM) on his head .tnllHls under an aHHUined name. No one knows his identity as he always "works" alone. The son of an English Karl is also in tho army in his uncle's reginw^nt un- der an assumed name, having com- mitted forgery. Hoth have been "sterilized" hy the war. The voung lOriglishman saves the life of the .\merican crook, but at a moment when it looks as if hoth will die the American confesses his identity and IIh« I'liKlishinan says the only one who kiuMvs his real name is his <oIou(>l. Hoth are saved. tl«e American seeks the English youth who knows his Hccret and hoiii.s hi«i future in his hands, rob.s Hip »oioner« hafe |o learn the name of his benefactor, meets the sister, falls in love with her: .the Earl is com|>elled to seek retirement from Loeette Clara Kimball Toaas Jehfi Vma Aaatta W. P. CarleUa Robert Vaa Aoatea... .Bertram Qraasby Ada Vaa Anaten ClarlMa Selwyaa Clavd« Qrealar Tb«maa Jaflsraoa Dorla CbarmlB« Bettr Fraaolaco Thia ahould go through the atieka and make them yell for more. CUmnt kimball Young ia starred in it by E«qiiitj Pictnroa^and It waa aeen re- cently at the Loew houses here where it went oveir welL Si^ Ck>wan wrote it and Harry Garson directecL It has everything melodrama should have to hit the masaea right and Miss Toung ia like it. By the same token it is far removed from that auatere improve- ment hoped for iu pictures. Lucette Grenier is a mflliner and young Van Austen, member of tbe 400. falls in love with her. His family, of course, are opposed and the plot is off to u running start. In thia pic- ture, purity and general superiority of the milliner to the supposedly well bred members of New York's rich so- cial set is proved by Uncle John who intends to force the acceptance of Lu- cvtte as bis nephew's fiancee because he likea Lucette. The method he em- ploys is neat. He makes love t.i I.ucetie ami she tunix him down, ♦lius proving her vir- tue ami she is invited to a party at tJbs Tan Austens. Mejinwhile, Robert renews his affair with a little chorus girl. At "the party Lucette's grand- father <*omes in drunk to rescue his grand c4iild from the wicked wiles of the 400. Tiucette breaks her engage- ment only to be claimed iu marriage by Uncle John who is a millionaire. What more could exbibitor» ask in the way of a story? They get in addi- tion Miss Young's adept ability at screen work anci her display of gowns. Theae are too low cut for a modest girl, but then people like that. The supporting cast, too, is excellent, Thomas Jefferson standing out by his portrayal of the old grandfather. * Tjeed. side-door Pullman wttft maaa aaga ob- servations by the way. MeetLng up with a gang of yaggsln the ^utakirta of the Crescent City, he learns of a plot to rob a nearby plantation and leaves the company with no taste for such an adreatar^. On the road agati^ hia whistling of an opefm air eaioiea the attantioB of a rH drinog into town and the daaCy tramp and aha strike up a humoroua Crieadahlp. It turns out that she is the daugh- ter of the planter the yeggs plan to rob an4 Dick ia iBatrusatnftal kk f ma- tratiag the holdap. Ha is accepted into the bouaekold as a hero and mada much of. The coarersatioa gires op- portunity for many humoroua titlaa in Rogers* beat TOtn. *'lYow that «e hava proUbtioa,'' aaja one of the gueila, **I auppoaa they^ atop tobacco aai proCaaitj next.' ''While there ia a prohibitioniai left, repliea Dick, "they cannot atop profanity. Dick then is set for a life of pros- perity aa the plaatet^a ward and pro- tege. Bat they try to make him take a bath and promise huB work. Dick awakea with tbe ana and looks from his bedroom window to see the happy farm hands go siaflng to their work. He slips into his old coat, atealthHy dropa frim hia bedroom window and the final fadeout ahows him Aaappear" ing down the road, shuffUng content- ec^ along and whistling. The picture tranalatea to tbe screen the very spirit of O. Henry himself in its quaint humor and deft hnmaa touches. Rush, A BROKEN DOLL "A Broken DoU" ig^aa Allan Dwaa ptvdnction, acenarioiald fi«m Wilbur Hall'a Saturday Ereaiag Poat Story "Johnny Gucabod"-^n Asoociated Pvadueera' releaae. Monte Blue is featured and Mary Thurman is the leading lady. As a picture atory it lacks action, being the study of a "sweet, simple" character, aa orphan man who loves mankind, womankind and aninsalkind. It revolves around his love for a crippled child, the daughter of the ranchman for whom be works. Through an accident.the youngster's doll is broken, he has no money to replace it and even goes so far aa to steal from one of the other men to get her a new one. If he had been possessed of a semblance of or- dinary intelligence he could have gone to either of the chilcTs parents, ex- plained the circumstances and they would have given him tlie money. But the character, aa depicted, is nothing more than a simpleton—one might al- most say half-witted. He acridentally captures an escaped convict, earns the reward and marries the rich sheriffb daughter. How so Inteligent a yonng lady could take him for a husband isn't easy to figure out. Monte Blue plays the role nicely with fine facial expression. If only the scenario gave hiin M>methiag '*manly" to do that would stamp him as a picture hero one might forgive the draggy tale. His scenes with the diild (who by the way is a good actress) are sweet and tender, but that isn't enough to sustain a full length feature. As it struggles along it degenerates into pathos and be- comes monotonous. The direction. acheme to rob him of his best girl Beaet by blackmailera, to save their Uvea ahe givea herself up to the gang He goea to reacue her and is told an effective story by the head of the gang which parallels his own situa- tion. Drugged by a cigarette while he liatena, ne is thrown into a cellar and recovera ia'<lme to save the girt in a peadi of a row. full of suspense Action, rom an ce at their best. Here ia the better type of picture, «eg stuff nicely camooflaffed for the mar- ^^^ Leed. . 04naRTBt or devil dam Itaffalj Mtodaa Picture Co. ^. doction, featuring Irma Barriaoa^ Kampton Oree^ ReguUtioa pro- gram featore with hackneyed tale Juat 'liatea*' to thfa aommary ef tu bjgh apota.^ ffiffh-aplrited daaghter of iMiiusTile genttZlu with 'i^.I ■Moatache aMl Isperiale married '-Dejn Dan- aaainit bar Suer^ wtehea and DanT. killed by « mj^a! ahiaer. Toung wife U seen on ..-■■ deathbed, unforrven by irste father. She gives viUainotta attorney "the C>aper8" and ber sev. , v ar-old dugkter. He ateala the fortune and takea the child to the moonshiners huL Ten yeara ^^.-^ ChUd is young girl, uncouth and unkempt, bat bux- om. Dashing young revenue officer appeara. She saves his life and es- capes disguised aa a boy. Young revenue officer visits girl's grandfather (son of his old school- and find girl aa newsboy in a fight They take her borne, old colonei wants to adopt her. She explores garret in colonial home, finds crino- line dress her mother wore, dons it, old colonel sees resemblance to hi<* daughter, cries: "My search for aiy granddaughter haa ended.*' ViJlain- oaa lawyer and moonshiner kidnaii giri and ride horseback with her to their hut in a few moments. One never knew before there were moon- shine atilla on the outskirts of Ijouiaville. Young revenue officer to the reacue. vll^ain-lawyer (who tarns out to be hero's uncle) is shot in the mcIee. confeiues and tbe clinch ia finally arrived at after fifty-five min- utes of footage that seems' like ninety-five jninotea. The ac*ting is on a par with the story, but the direction aeemcd far superior to the material given tbe megaphone man to work with. A pretty colonial interior wog the only set of any pretension. Jolo. THE SCARAB RING Conatancp Randall.. MurlH Randall. Ward LiOeke. . Burton Temple. John Randall. . Huch Martin. . , .Tam(>i* Tjorke. . Mr. Kborea .... Alice Joyco Maude MalcDlm .Toe Klnir B. Ph IHn . .Fuller Mrlllah . (.Maude Kln« ..loaeph Smiley Jack Ilupkln* Kennedy Armand Cortet A well wrought, suspensive melo- dramn with a surprise denouncement iR 'The Scarab Ring," scenario bv Helen Oaylord. directed by FMward .lose. sUrring Alice .Toyce—■ Vita- craph i#oduction. But clever as it ia. all connected witb it overiooke«> a vital defect that, when brourht t«» one's attention, makes one smile in- dulgently. It opens with a respectcMl banker on ^his death bed. asking his elder acting and photography are satis'fac- k™**?''^ f'"''**^!"**'"*, for having tory. but the tale ia twndal-. ^7!^ a blackguard and a thief and T^7^ , ■''king her to swear she would not UNWILLING HERO Dick Nadlne . Hunter Richmond ItniU;Da Harry . . . . Will Ko<or« . .Molly Miilono . . . John Floweri*,' . . . . I>iirri'l Kos« . . . .Jack Curti* Jolo. COINCIDENCE Robert flarron riobo OoorBo Kunltle lTob<» Dirk Johnaon Hobo I.arry Kl»her Hobo !'••<» W Ml* NeBro Servant Nick <'o«iey IajvoJov Rd Kimball "An Unwilling Hero." made by (loldwyn from the O. Ileury atory, ing." at the Capitol, last week, ing," and current at the Capitol. introduccH Will Rogers in one of the best comedy character sketches he haK so far created for the .screen. lie plays a philosophical hobo, with a powerful distaste foV work and baths, but A quaint outlook upon life and a gift for whistling. As a story the feature doesn't amount to anything at all. but with the iuHpired playing of Uogers and a certain deft handling of high comedy atmosphere, it .'•tands out as a gem. No other K^nr or no other produc- tion coines to mind that has achieved Huy <lroller delineation of a <'omedy tyi>e than Roger's Whistling I>ick in thi.H production. It 's.high class por- traiture, boldly drawn and deftly sketched and tinted. Clarence (». Hadger is credited with the direction. He has made the alight story beaiiti- fdlly simple and direct, although its appeal depends upon its rich detail. There are only hIx characters identi- fied in the cast and the light story is always clear cut and comprehensihle. Rogers himself wrote the titles and these printed interludes, with their amusing philosophy, neatly an<l tersely put, arc* a major part of the film. At the opening Rogers as Whistling Dick is ambling along a country roiul; ragg(*d and. lightly clad iigninst the the autumn wind that blows the leaves ahout his half shod feet. A line of wild ducks flies past. "Just to show I've got an much sense as a duck," muses Dick, "1*11 go south, too.* He reaches New Orleaiia bv the Rilly Jenka HiioHbe Howard Hrr^nt Stephen I<''iake c .._ John <*art»*r Frank Bolcher Dor-nhy Carter. .• JJn*" Terry T\\\h is a Robert Ilarron picture made over a year ago for Metro by Chet Withey and now being released. Howard K. M(trt<m wrote the origi- nal story and Brian Hooker the scenario. Half the sting of the in- credible ina^ais of coincidences that go to make up the plot is taken away by the title which admits the fault and justifies it by a series of scenes in the beginning showing our hero as a bank clerk out of town. He comes to New York. A bank bill blown out of a window brings him i:i contact with the girl he is to marry. There follows a fortune inherited, •stolen, rescued. These coincidences rather take the breath away, but there is lots of pleasant action and Har- ron's ('.larm and the capabl*^ support- of June Walker and a competent cast help make the offering accentable. Leed. ing „_ ... _ . reveal bis secret to the younger daughter. She swe.irs. The younger girl, Muriel, in loved by a youth of her own years and the elder, Const.nnce, by a young lawyer CHILDREN OF THE NIGHT A first rate Fox program feature showing now around lioew's New Y>rk cir-(lit. Max Brand wrote the itv^ry. Jack I^illon directed, showing espei-ial coiupotency for his job in the handling of some perfect fighting to- ward the end, every second of it crammed with action and reaUy thrill- ing. The ^irls will like this. It i.s romance with \ capital R, and action of th»* heroic sort. Willijini RuMsell is starred and show;* to good purpose as the hero of the dream for this story spends most of its time telling the action of a dream. Rus.sell is a clerk iu a broker- age house .•»iid in love with the sten- ograph«r. To him it seems a prosaic 4ort of existence aud he falls to im- agining at hia desk, seeing himself a wealthy man and the center of a .BraX BaNk:r i rJZ'u ^''^.^'^^J^ V^^^-t ^Timir^alat- wm.»—Frederic r""'*^y- "'>«h Martin, a former bus- • - ■ ness assoaate of the father, hold* papers proving the donble life the banker led and threatens Constance that uPkless .^he p^^rsuades Muriel to marry him he will give the story to the newspapers. Martin is found murdered in h'«» apartment one night arrl a scarab ring is found on the floor hy the police. •Oonptance is arrested charged with the mnrder, being unable to T»rove where she was that evening Her liwyer-lover gets her acHinitted at the trial bv producine a (hiplicate scarab which oven the Oriental from whom it wai originally purchased i(» uiiHble to (|jstini»uish from the gen- uine. On Constance's refu.'^al to marry her lover his father queistions her and she tells ^flashback) that she was in Martin's .apartment and did kill him. but it is shown it was in self-defense and when the father i»uts it up to his son to decide if he will marry Constjince whether .she be guilty or not the noble hero says he rtoesn't care what she did—he hns faith «« her integrity, and all ends happily- In the flashback is shown Constance telephoning Martin for an nppoinl- ment the Cital night. The first thing the police would have done —one of the firift things at any rate wotild be to examine the phone records f<>r just ."^uch a call. Miss Joyce sustains the role with a dignity and womanliness that com- mands admiration for her art. She never once overacts, avoids nil "On my Onvi-ds." etc.. and conducts her- self throughout like a buman bciic— a well bred lady. The supporting ca.'it is fully competent and the direc- tion inte!ligenr. throughout - with the one faux prts, the [ihone coll. How- ever could fhey let that pess? An excellent program fcjiturc Jolo.