The New Pictures

Her Temporary Husband. Sidney Chaplin, brother of the sovereign Charlie, makes an excellent comic butler. He assists his master to marry the heroine by the insidious device of disguising him in a luxuriant growth of false whiskers and substituting him at the hour of the ceremony for the aged gentleman she intended to marry.

The Courtship of Miles Standish. The casual and the captious witness will be decidedly at odds over this portion of Puritan romance. The former, vaguely recalling the sugar coated capsule fed him by a forgotten history teacher, will go in and out delightedly. The latter, unwilling to be betrayed into a display of unpremeditated emotion, will seek feverishly for flaws. Of these there seems to be an abundance. The scenes were rather obviously made in the cosmopolitan atmosphere of a Hollywood studio. Priscilla is played by Enid Bennett in her best molasses manner. Even the captious, however, must assent to the general approbation of the acting of Charles Ray. For his sake and for the undoubted historical value of the picture, it must be labeled worthy of consideration and approval.

Three Miles Out. A considerable female triumvirate cooperated in the manufacture of this article. Anita Loos (one of the foremost title writers), Neysa McMein (illustrator, author), and Madge Kennedy. Since the latter was allowed to contribute her features as well as her brains she seemed the cornerstone. Many and far flimsier celluloid structures have been reared on less substantial bases. The pictorial narrative concerns itself with bootlegging, love and a woman's wit. It is more than moderately entertaining. When Miss Kennedy is on, it is decidedly exciting.

The Rendezvous. So flamboyant was the melodrama of this singular narrative of the downtrodden royal party of Russia that certain commentators took it to be satire.

West of the Water Tower. Since the book on which this film was founded has been widely sold and widely discussed (TIME, June 11) it seems unnecessary to detail the plot. Sufficient unto the story is the memorandum that it is a tale of Western small town life, youthful love and the bigotry of rural ignorance. As transferred to the screen and interpreted by Glenn Hunter, it seems to lodge safely among the leading half dozen pictures of the year.