Cinema: The New Pictures Mar. 5, 1928

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The Shepherd of the Hills. Old-fashioned as a hair sofa is this movie carved from a Harold Bell Wright best seller. Dully, the story preaches the value of turning the other cheek, the ex-minister here involved turning his with the monotony of a metronome. An ex-minister reaches the sheep country, settles among the farmers and sheep owners, and tries by faith in the good to bring them through such troubles as drought and failing crops. Misery bumps the characters around, until the great rain. The humbleness of Alec B. Francis and the plumpness of Molly O'Day take up most of the footage.

Love and Learn. Chilling, blonde, Esther Ralston maintains her clotheshorse position in the records of Paramount in this odd little piece wherein her efforts are aimed at the prevention of a parental separation. By plunging, in her straight eight, through the front of the police station, the young lady manages to get to jail, there overhears the details of a conspiracy to drag the young and charming judge who sentenced her into a badger-game.* She goes to his room, prevents compromise, reveals the plot, wins love. A divorce is prevented, her adventures having kept father and mother together.

Her Wild Oat. She runs a lunch counter. He is rich and romantic. He goes to Plymouth Beach. She follows him, wearing a wig and acting like a gold-digger's idea of a grande dame. He meets but does not recognize her. She says she is the Duchesse de Granville. The real Duchesse de Granville is his stepmother whom he has never seen. She, accordingly, is in a fix. She runs rapidly away, chased by police, house detectives, him. She returns to her lunchwagon. He ties the lunchwagon to his limousine and drags it to the door of his palatial house. She is Colleen Moore. He is Larry Kent.

*Police slang for the decoying by a woman of some man into her house for the purpose of robbing him.

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