The New Pictures

The Love Master. Strongheart is still one of the best screen actors, for this canine artist is as unconscious of self and of the camera as every hair on his back. In this story of the North he proves again his authentic appeal, winning a dog race at Banff on which his master's fortune--and the plot--hang. Strong-heart seems spurred on to greater efforts than usual, for this time he is performing before his consort and their family of five pups.

Broadway After Dark. Another Cinderella story. Here a man-about-town, world-weary as all men-about-town are in the cinema, dresses up a little boarding house slavey in the height of fashion and turns her loose his society friends. Author and director seem to have scamped their theme, which is the familiar one of clothes making the woman, for they give spectators no scenes in which to determine "what's wrong with this picture." They furnish a quite human and interesting turn to a hackneyed and rather melodramatic situation, providing Norma Shearer with her chance to be a melting ingenue and Adolphe Menjou with an opportunity to be a hero for once--while remaining a man-about-town. The Goldfish. Constance Talmadge scampers through the picture in her best harum-scarum vein. She traces with not a little sly subtlety the development of the Coney Island piano-pounder who uses one husband after another to advance her social and financial status, till she finally returns to her initial song-plugging spouse, still the same devoted little heart, but this time with a broad "a." The Woman on the Jury. This adaptation of a stage play proves more ingeniously effective than its original. A married couple spend their honeymoon serving on the same jury, whereupon the young wife is faced with the problem of passing judgment on a woman who shot the seducer whom the wife herself would have liked to shoot. It comes as a shock to her husband, with his hard and fast notions of right and wrong among women, that his wife is tarred with the same brush as the defendant, but he manages to get over it. The picture resorts to the favorite current system of wadding up a batch of stellar talent (Sylvia Breamer, Bessie Love, Myrtle Stedman, Henry B. Walthall, Mary Carr and Hobart Bosworth). Lew Cody plays the roue till murder seems highly desirable.