Evening star. [volume] (Washington, D.C.) 1854-1972, 1925-12-28
COLUMBIA-"A Kiss for Cinderella

Betty Bronson. the charming young
star OF the motion pictures who so
successfully interpreted the role of
Peter Pan" for the screen, has made
an equally successful screen portrait
of another Maude Adams role, that of
the little slavey in Barrie's whimsical
comedy. "A Kiss for Cinderella"
which is shown this week at Loew's
Columbia Theater.
To those who saw Miss Adams in
the stage production it seems a great
| loss not 10 have the spoken words
| which so enrich the character por-
trayal in the play. On the other
! hand, the opportunity for elaborate
Interpretation of the fantastic dream
OF Cinderella's ball. in the terms of
the little slavey's imagination is an
asset that was denied the stage pro-
duction. Built somewhat along the
| lines of the famous "Beggar on
Horseback dream. with typical psy-
Geological Interpolation of everyday
things in grotesque dream dress, this
vision of little "Cinders" forms about
half of the picture. 1t would be we'll
for the spectator to get in at the
beginning of the film in order to get
the full significance of the dream
Although Barrie's play has been
movieized to a certain extent. the true
eSSeIlCe Oh the original Work is OOfnl-
nant and little Miss Bronson is ex-
cellent in carrying her character
across the silver sheet to her audi
ence.
Tom Moore as the policeman hero
is equally fine in his role. nd is quite
comical in his scenes as the bored
prince waiting for the tiny feet of
Cinderella to awaken his sluggish
heart. Esther Ralston looks fol
liesque fairy godmother. and is the
only unconvincing character in the
picture. The four tiny children who
play the war babies" are adorably
natural in their apparently spon-
taneous actions. The settings are
beautiful throughout, and. of course.
suDerlatively sumptuous in the fan
taaic ball dream. The photography
is fine.
All in all "a Kiss for Cinderella"
is a charming picture that no one
should miss, and is a real triumph for
its producer, Herbert Brenon.
Colleen Moore shows just how mod
ern I'VE moderns" can appear to be
and just how Old fashioned we really
are at heart in her latest Offering, fea-
tured at Crandalls Metropolitan this
week.
We Moderns," adapted to the silver
sheet from Zangwill's drama of the
same name, gives an interesting in
depreciation of the ultra-modern flap
per, the most talked-of postwar prod
| uct of the present day. The complex
ties of her nature, the combination of
hard boiled sophistication and appeal-
ing innocence, the love of thrills, and
| beneath it all the frank sincerity of
| modern plr1-a1l ra
Miss Moore's characterization of a
housekeeping London belle whose par
| entS suddenly emerged from their alb
| Sorptlon in war work to find their
| Two children grown into strangers
whose ways and manners were a
shock to their staid dignity.
After many nights Of gay reyeling on
the part of daughter and weary wait
| ing on the part Of the worried parents
| the story reaches a dramatic climax
in the crashing Of the fapper's flu
sions concerning her modern hero
| simultaneously with the crashing to
earth Of the giant dirigible in which a
gay party had been Chasing the f1v.
ing hours with flying feet"
| Miraculously escaping death, Colleen
realizes what little fool she has
| been and makes her peace with her
parents and her fiance. who does not
/ belong to the band of moderns.
| Jack Mulhall, Claude Gillingwater.
| Clarissa Selwynne and Cleve Moore
| head the supporting cast.
| An amusing Bobby Vernon comedy.
Slippery Feet" an Interpretation Of
| the Charleston" and a delightful
J overture embracing several favorite
kreisler airs, rendered by Breeskin's
| concert Orchestra, are the additional
! attractions. The usual news reel is
| included in the program.