"The Trial of Mary Dugan" Succeeds in Avoiding Monotony and Charlie Chaplin Needs No Comment

The passing months have found "The Trial of Mary Dugan" to be fairly sound melodrama in the modern fashion. Successful on the legitimate stage, its chorus girl heroics modified by the prevalent taste for detective fiction have been impressed into celluloid to emerge upon the screen in almost recognizable form. This evening, as a part of its "Review Week" program, the University Theater offers a last opportunity to see the loving brother triumphant, the noble innocent acquitted, and the guilty confounded in one dramatic toss of the knife. The popularity of the screen version lies in an ingenious plot, ably unravelled by Norma Shearer and the competent Lewis Stone. Its difficulties lie in its adaptation from the original play. The lack of variety in scene and the preponderance of long speeches, compensated on the legitimate stage by the direct contact with audience, avoids monotony by a small margin. On the whole, however, "The Trial of Mary Dugan" can be recognized as a contribution of substance to the talking screen.

Charlie Chaplin in "The Circus" needs no introduction or comment. Just as "The Trial of Mary Dugan" emerges successfully from an earlier backwoods melodrama so Charlie Chaplin, in resisting the temptation to throw pies, finds a more sophisticated comic medium. The pies, however, are not too far around the corner. Thursday evening George Arlise as the suave and realistic Disraell is no less worthy of another presentation.

This movie has recently run in Boston this year but the unquestionable excellence of both the acting and directing certainly warrants its being shown again so close to the initial performance.

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