Chart

People go to the cinema 1) to keep cool; 2) to be in the dark; 3) to kill time; 4) to be entertained.

Those in category No. 4 may well feel the need of a chart:

The Racket (Thomas Meighan, Louis Wolheim, Marie Prevost)--The best of the liquor and lawlessness films.

The Actress (Norma Shearer)--A tenderly accurate version of Sir Arthur Wing Pinero's play, Trelawney of the Wells.

The Red Dance (Dolores Del Rio and Charles Farrell)--Good acting on the subject of the Russian revolution. Somewhat sentimental.* The Magnificent Flirt (Florence Vidor) --Modern, silken, original, with a Parisian setting.

Chicken a la King (Ford Sterling and Nancy Carroll)--Gold-digging is amusing in this case.

The Man Who Laughs (Conrad Veidt and Mary Philbin)--Victor Hugo's novel well done.

Ladies of the Mob (Clara Bow and Richard Arlen)--Gun play upsets a loving pair.

Speedy (Harold Lloyd)--Aided by Babe Ruth and horse car.

Carmen (Raquel Meller)--She is unspeakably fetching.

Berlin: The Symphony of a Big City-- German film with no plot, no subtitles, no stars. Eye-worthy.

Wings, The Crowd, The Trail of '08, The Patsy are all good.

Abie's Irish Rose, The Strange Case of Captain Ramper, Dawn, The End of St. Petersburg, Lights of New York (Vita-phone) are all curious.

The Michigan Kid, Wheel of Chance, A Certain Young Man, The Play Girl, Burning Daylight are neither curious nor good.

*At the Manhattan showing, George Bernard Shaw and a pleasant comedy are also seen and heard via the Movietone.