The New Pictures

Don Q., Son of Zorro. Master, this time, of the Australian stock whip, with which he flicks the ash from a cigaret, disarms a swordsman, climbs a balcony, tears a marriage license in two, Douglas Fairbanks is himself again. Fascinating, agile Spanish hero, Don Cesar clears himself of the charge of murdering an Archduke, wins the lovely Dolores de Muro (Mary Astor), plays the double part of father and son in a battle against 15. The picture is photographically perfect, splendidly cast, full of thrills.

Lost--A Wife. Greta Nissen, out of Norway, brings to view her wild blonde hair and perfect poise. Torn from her own engagement party by "Bet-a-Thousand Tony" (Adolph Menjou), she marries him and as instantly loses him to the superior passion of gambling. She rebels, divorces, regains him. She is, in short, victorious over both the audience and her husband.

The Making of O'Malley. Milton Sills in the absolutely original part of a New York policeman, whose courage is equalled only by his tenderness for small children. He saves a crippled child, woos a pretty school teacher--a society girl with a lost taste for dances and teas--catches the wicked bootleggers in an exhibition of acrobatic agility, comes under a shadow in which he loses his star, and otherwise goes direct to the deepest emotions of an unsophisticated soul.

After Business Hours. It is hard to stand the strain of a weak heroine stumbling through reels of irrational rot, and seemingly, the actors find it so.

The Sporting Chance. Imagine Kentucky and a man with a horse trying to win a race for the heart of the girl who has to save her father from prison by marrying. Kentucky is of course a lovely place.

How Baxter Butted In. If good fun and beauty be the meat of movies, play on. Matt Moore is funny and Dorothy De Vore is beautiful, and, if the picture is silly, it is no worse. The hero works in the advertising department of a big newspaper and, since he is also a dreamer, fits there as well as a prayer in a poker game.