There are other aspects of the gay nineties or frivolous eighties than those depicted by Mae West. In "Judge Priest," we see a small southern town, actually, Paducah, Kentucky fifteen or twenty years after the Civil War. They are clearly defined. There is the villain, a golden-tongued, politician. There are the heroes (1) Judge Priest, (2) Ellie May's ex-convict father, (3) Jerome Priest (young love interest). There are minor villains and a heroine and of course a supporting cast of half heroes. For most people, though, whether they are southerners or not, the best performance is that of the negroes. Not only is their singing excellent, but their characterizations excellent. Jeff is a four years improved version of the sleepiness that made the success of the Black Crows. He is the sleepiest thing outside a home for somnambulists.

The part of Judge Priest is admirably suited to Will Rogers. He seems to be almost wishing that he really were Judge Priest. Anita Louise is a Greuse-like decoration and as usual has no real part to show whether she can act or not. Tom Brown is young and enthusiastic. Berton Churchill has an irritating charm and ebullience all his own and is a perfect foil for the rugged honesty of the Priest famille.

The other picture, "Servants Entrance" plays in Sweden, where a girl with a conscience decides to abandon her wardrobe and learn how to cook, sew, and other things. She comes back home with a chauffeur on her mind and it does not surprise the audience that the chauffeur is also a budding engineer and his father-in-law the largest motor manufacturer in Sweden. Janet Gaynor and Lew Ayres take one and a half fairly amusing hours to make the "big decision."