The New Pictures

Tiger Love, The caveman seems to have moved his headquarters to Spain. This is another picture with a cast-iron lover from Castille--a species which now seems to be prowling on the screen. It details how a handsome bandit, a Spanish Robin Hood who robs the wealthy for the sake of the poor, first knocks down a sweet senorita, and then, as is only natural in the cinema, abducts her on her wedding day. During the fierce handkerchief-fight which follows, when the bridegroom faints at the mere notion of crossing daggers with the brigand, the latter is proved to be really a changeling, son of a rich Don, without recourse to the conventional strawberry mark. A fleet and interesting picture, bound to be a success, because its original, the operetta called The Wildcat, was total ruin. Cinema producers always work harder to salvage the wrecks than the good pictures. Antonio Moreno is properly dashing as the attractive hero, but Estelle Taylor seems too conscious that people are looking at her. True as Steel. Rupert Hughes has taken another whack at a Vital American Problem. He has done much better than in his other pictures of late in solving another Burning Issue. This time the question seems to be: Can a woman succeed in business without using her good looks--especially her eyes--as a business asset? Apparently the author-director believes that a prerequisite for achievement behind a desk is a course in vamping. Aileen Pringle as a modern business woman spends most of her time ensnaring men. Apparently bagging a man means netting large profits. The stay-at-home wives are made out by Mr. Hughes to be frumps, giving the woman in the counting-house a walkover. The daughter of one such mother, seeing this, embarks on a mercantile career herself and makes fortune--and the men--smile on her. Eleanor Boardman and Norman Kerry contribute to a fairly entertaining picture, in which flirting seems to be the principal industry of the U. S. The White Moth. Maurice Tourneur, producer, has discovered the age-old fable of the moth and the flame. He even throws in a lavish symbolical spectacle, of a white insect fluttering around the devil, in the form of a flame, to make the theme quite plain. Other things made equally plain are sections of Barbara La Marrs anatomy. When it comes to disrobing, Miss La Marr seems to have reached the deadline in this picture. However, according to cinema ethics, this seems to be necessary, as she is bent on a career as an opera singer. Winning success through a Machiavellian manager, she is saved from his clutches by a young man looking strangely like Conway Tearle. But he quits her house, telling her he married her only to rescue his brother from her blandishments. Of course he comes back to her after his love has been awakened through shooting another man. All the picture needs is moth balls.