"Golden Harvest," this week's feature at the Metropolitan, is a mild bit of adventure apparently inspired by the time-honored farm problem. The producers give taint intimations of attempting an epic but, being unable to solve the problem of surplus wheat any better than a Farm Beard, they content themselves with merigages and government aid for the farmers.

Richard Arlen and Chester Morris, the two brothers who inherit a wheat farm, are two of the Playgoer's favorite actors. "Golden Harvest" supplies an ideal role for Arlen where his straight-forward masculinity is unrestrained by wing collar or the stare of social dictators. Chester Morris is the prodigal who leaves the farm and "cleans up" in the Chicago Wheat Pit. He does this by the simple expedient of dressing up in rubber coat and hat, walking under a shower bath, and stampeding the Pit by crying. "Rain, rain," thus forcing down the price about ten cents and crowning his bear operations with success. This is accomplished before anyone has the presence of mind to look out the window.

Fortunately he is not called upon to register fear, hate, or pain; emotions that rendered his otherwise pleasant countenance almost unrecognizable in recent pictures. A few more cheery parts like this and we predict that Mr. Morris will be back to stardom once more.

With due respect to "Golden Harvest," a sailor comedy with Eugene Palette is the high light of the program. It seems that there has been a big lottery. Unbeknownst to himself a sailor with an anchor tatooed on his chest holds the winning ticket. A band of unscrupulous racketeers seeks to learn the identity of this child of fate and employ the services of a shapely blonde.

"But how can I tell if he has an anchor tatooed on his chest?" the blonde asks. "Why just use your ... ah ... ingenuity," the master mind replies. To the imaginations of thousands of CRIMSON readers we leave the task of reconstructing the horse-play that ensues. In the lingo of the theatre it "panicked" the Metropolitan audience Friday night.