"Sarah and Son" at Met Evidence of Her Great Versatility--Stage Fairly Interesting
Ruth Chatterton, now appearing in "Sarah and Son" at the Metropolitan Theatre, gives one of her excellent performances that stamp her as one of the talking screen's best actresses. There seems to be no limit to Miss Chatterton's versatility--she has played parts ranging from gay young wives to tragic middle-aged mothers. In "Sarah and Son" she not only acts superbly, but acquires a realistic German accent, and even goes so far as to improve in her knowledge of English as the picture progresses. Miss Chatterton has the role of a young German girl who, as a vaudeville actress, marries her worthless partner. In a fit of anger, he runs off with their baby son. The picture traces Sarah's rise from vaudeville to grand opera, as a sort of sub-plot to her struggles to regain her boy from the family in whose custody her husband had left it. There is a minor love-story which does not obtrude upon the main theme. The story covers a period of some fifteen years, and for once the clothing of the characters is not anachronistic. The acting throughout is convincing, the direction good, and the general effect pleasing. It is a moot question, to be answered by psychologists, whether or not the ending was improbable. On the whole, the picture ranks high, as any of Miss Chatterton's must.
The stage show is fairly entertaining. The dancing is poor, with the exception of a couple who go through a semi-adagio waltz. There is a troop of tumblers who are good. On one occasion the leader of the stage orchestra is seized by them and given a little experience in being tumbled. The setting, as usual, is gorgeous and highly elaborate, and there is some very intricate piano-playing done at one point.