Whether the director of "Let Us Be Gay" knew the human psychology connected with the inherent right of every woman, is a matter of conjecture in Shanghai, distant from Hollywood as it' is, but, nevertheless, he introduced—the mother element into the film to bring about a reunion between estranged wife and husband. By way of explana to be noted. that Norma Shearer was not. in the best health when the picture was being completed. It is not to be said that this is the best of her; efforts, yet patrons of the Carlton Theatre—and they have been pack-
It isa an "audifilm" which will not fail to please the most critical, American British, or Continental. The humour is subtle, but not so subtle, but what large numbers of Chinese patrons. rollick with laughter. Norma' Shearer is dainty, perhaps divine land not the least' dogmatic in the rréle she plays. Had one not the Programme, one would never have recognized her as the comely housewife, intent only to please a husband with higher ambitions, whom she deserts, after a final unfilial episode, implied. Paris for th years, her return, as the belle of cosmopolitan circle. Then the fun begins—but enough of that. Of course in the final fadeout, they are' reunited. There is rapid' repartee, moments of complicated situation, subtle humour, which Marie Dress-ler, as her friend from Paris denies, excepting at the climax, when she emphasizes her own "subtlety bringing about the reconciliation by telephoning for the children. As an after-thought, criticism must be directed to this "ancient female" of the screen, Marie Dressler, 64 years: of age and in spirit as youthful as. Raymond Hackett, the juvenile lead. Without hor domineering attitude, her sincere sarcasm, her x pression of faith in the love of estranged husband end wife, Norma!
Text read from the printed page and cleaned; old type leaves the occasional error.