CRIMSON PLAYGOER

Notable only in that it furnishes another good reason for the concluding of the Clara Bow era in Boston. "Three Week Ends", the film now at the Metro-politan parades the scenario art of Elinor Glyn, and a lot of weird action at a pace that is fortunately fast. The director of the production deserves all the credit he can get for having brought this about.

Miss Bow has definitely graduated from the lightweight class and now ranks with the welters but the flapper of "It" she remains successively if not successfully in the plots accorded to her talent. Friends of the lady will recognize again in "Three Week Ends" her sinister love gesture, a long stare from under touseled locks, this time directed at Neil Hamilton. The other essentials are also present, lively bounding around, saxophone atmosphere, and the pathos of misunderstood love.

The theme is familiar. Gladys, a chorus girl, wants a man with money. She finds soon enough dollars are not as nice as Neil Hamilton's square jaw and swift right job to an opponent's proboscis. She gets him in three episodes.

Specialty features this week are rather pleasant. Clark and McCullough, the sere and tested vandeville team, are largely responsible for it with their movietone comedy. The Publix arrangement "Topsy Turvy Town" is also a harmless show presented against a futuristic background. The left end from "Good News", if we remember the face does some clever hoofing in front of the ponies. This part of the performance is above the average.