The New Pictures

The New Pictures

Captain January. Baby Peggy's public is composed of persons with an unbounded capacity for "cunningness" in other people's children. If you can revel for hours in childish winsomeness, even when it is faintly selfconscious, and still long to kiss "the little darling" goodnight before she scampers upstairs to her supper, Captain January was just made for you. The story, which flourished during Elsie Dinsmore's palmy days, is of a sea-tossed waif, rescued and reared by a hungry hearted lighthouse-keeper. Stock villainy and fairy godmotherhood (both well cast) complete the plot. Take the children.

Wanderers of the Wasteland. Colored cinematography has at last achieved a colorable success. "Technicolor" is the process with which this picture paints Zane Grey in hues like unto none he ever dreamed of conveying to the babbitt consciousness. His reddest Indian, his most blushful sunset, his glaringest desert appear before the eye, often with a marked degree of credibility. The characters thus incolorated are incarnated in Jack Holt, Noah Beery, Kathlyn Williams, Billie Dove. These, together with Death Valley, the Arizona cacti, Red Rock Canyon--flawless in beauty all--glorify themselves forever.

Between Worlds is another German film (notwithstanding its "European" label). It is not as good as Dr. Caligari, having a more amphorus texture, more turgid symbolism, more labored scenic effort for sensation. Even so, it leaves the mass of present-day American films far, far behind. Known abroad as One Night Between Worlds it argues the fantastic irony of death. Through a young fraulein's dream phantasmagoria, a shadowy Stranger stalks and skulks, luring her amid exotic scenes in Peking, Bagdad, Venice on one of those baffling nightmare quests for a dead lover. Fritz Lang directed; Lil Dagover performed this vehicle for Germanic supernaturalism-- now absurdly childish, now weirdly beautiful.