The Crimson Playgoer

Emphasizing the fact that the "talkies" are slowly, and even none too surely, progressing beyond the crudities of the first two years of production, "The Rogue Song", feature picture at the University, is an excellent anodyne for the sentimental slop which has heretofore been the offering of the latest vehicle in dramatic art. "The Rogue Song" has its theme song, its choruses, lavish sets, Technicolor and melodramatic plot, as have countless other musical productions issued from the studios. The distinction is that of the artist.

Perhaps the crux of the whole matter is the singing of Lawrence Tibbet, young Metropolitan star. Naturally, any review of his efforts belongs properly to the music-critic; it is enough to say that his performance is distinctly appealing to the layman. The choruses are so far removed from the Tiller-Girl type that comparison is futile; they were probably the kind the "gay nineties" reveled in. In the Technicolor sets and the varied camera-shots the hand of the director and the essence of true cinema art may be discerned. The settings are artistically artificial, something entirely different from the lavish Ziegfeld decorations. They are the basis of the whole picture. Incidentally, the film does deserve a mood which is almost impossible to attain in the midst of a Sunday afternoon audience at the University. It should be seen on a week night. "The Rogue Song" is the best musical production Hollywood has as yet released.

Richard Dix's revival of "Seven Keys to Baldpate" is the other entertainment. Since Mr. Dix has deserted the manly American racing-car type of picture, and entered the realm of situation comeday, he is of much more value as a source of entertainment. While not nearly approaching the cleverness of his latest picture, "Lovin' the Ladies", the "Seven Keys to Baldpate" is sufficiently worthwhile. Counting the news-reel, the University's present bill is the best-balanced in several months.