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Vigil in the Night (RKO) Carole Lombard (antiseptically disquised as a woman in white) gives a deadpan performance reminiscent of Greta Garbo in the first fanatic stage of Ninotchka. Miss Lombard it seems is a devotee of nursing. Her sister (Anne Shirley) does not feel the same call, in fact she pops off to brew herself a dish of tea when she ought to be watching a diphtheria patient who dies. Nurse Lombard takes the blame, gets sacked, but she finds a drearier hospital in London where she is blissfully happy. There she will have no dalliance with brilliant Dr. Prescott (Brian Aherne), by comparison a light-minded sort. At long last sister Anne expiates her negligence by dying. Dr. Prescott still trying to make genteel love is still butting his head against a hospital wall. Based on a novel by A. J. Cronin who wrote The Citadel, Vigil in the Night never quite develops enough inner drama to lighten its encircling gloom.

The Man From Dakota (Metro-Goldwyn-Mayer) is Wallace Beery. In addition to his customary routine of grunting, hitching his belt, pawing his chin and whining "Awwww!", he further endears himself to his large following by wolfing stolen cheese, ham, wood alcohol, hacking at people he doesn't like with an ax. Story recounts the escape of two Union prisoners (Wallace Beery and John Howard) from a Southern jail. Down in Virginia they stumble upon Dolores Del Rio (a Russian), who has just smitten and murdered a Russian officer attached to the Confederate staff. On his person is a map inscribed in Russian revealing a trap into which General Grant is about to be lured. The two prisoners can think of no better reason for taking lovely Dolores Del Rio along with them to see General Grant than that they need her as a translator.

The Farmer's Daughter (Paramount), intended apparently as comedy: 1) wastes the talents of Comedian Charles Ruggles as the jittery manager of a summer theater; 2) exhibits (for whatever science can get out of it) Martha Raye as the cave-mouthed, yawping farmer's daughter who becomes the theater's leading lady after one pinch-hitting performance; 3) permits Jack Norton to be very funny as a playwrighting alcoholic who, nerve-racked by the rural silences, has to be supplied with traffic noises before he can be inspired.

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