The New Pictures

Lily of the Dust. The German. Hermann Sudermann, cornered considerable applause when he wrote The Song of Songs. Later, Edward Sheldon brought it to life behind the footlights. In the natural course of events, its next metamorphosis was into celluloid. Famous Players were the alchemists ; Pola Negri the heroine; and Lily of the Dust the title.

The small body of professionals and the huge mass of private commentators on the cinema who possess a respect for literature have been raging against the tampering with titles these many years. Yet the manufacturers contend that thereby is their product the more easily and widely marketed. Therefore, Lily of the Dust. Which simply goes again to prove that the cheaper the materials involved in the manufacture of an article, the greater the profit. Pola Negri gives a perfect performance of Pola Negri. But as Sudermann's Lilly Czepanek (tall, fair and willowy), old friends of the book will disagree with her. Yet for the millions who want Pola Negri, it is to be said that she contributes one of the finest performances she has given since her films began to be stamped "made in America."

The story leads her from an obscure position as librarian to marriage with a German Colonel (Noah Beery) ; to the arms of a young Lieutenant (Ben Lyon) ; and finally to an unhappy ending. In the elaboration of the story the picture develops its highest values. By kindling a spark of interest that smoulders steadily, bursting into flame with the shrewdly-considered climax, it marks a notable achievement for director Dimitri Buchowetski.

Messalina. Ennio was only a Persian slave who asked nothing but to be left alone with Ela, the little Greek girl. Roman life in 41 A.D., he found, was more complicated than that. He was too handsome. Before the picture was half unreeled the Empress and one of the most luxuriously affluent Princesses were contending for his favor. Finally, he smashed up his chariot in the great race in the circus. None of this narrative, even the smash, was dangerously exciting. Probing elsewhere for values, one finds the picture useful chiefly as a reincarnation of Latin life. The forum, the circus and the homes of the patricians were carefully and generously revived. The Italian cast, led by Rina de Liguoro, fitted favorably enough. If the drama could be deleted, the picture would make an excellent adjunct to any school's efforts to instil into the stubborn minds of students the glory and "the grandeur that was Rome."