Plucked from the aromatic ceremony of a Russian Easter to grace the tobacco fields of Connecticut, Anna Sten intrudes pleasingly upon the American scene in her latest picture, "The Wedding Night." The Slavonic accent, a charming one, is both preserved and accounted for by the fact that she is cast as the daughter of a toiling family of Polish immigrant farmers. It is a family which knows not the lilies of the field.

The story is a pleasing variation on an old theme. Gary Cooper is a novelist whose literary efforts have suffered through his intimacy with the more alcoholic New York set. Having poured out their substance in Scotch and sodas, he and wife, Helen Vinson, set out for the homestead in New England.

In selling the glebe lands thereof to an enterprising Polish neighbor, Cooper is rather shocked to find that they are to form part of the dowry which will place Manya (Anna Sten) forever in the boorishly legitimate embraces of Patigorski, a young Pole of the vicinage. He allows his wife to return to the giddy whirl alone, and remains to watch Manya trip across the hill each morning with the milk. Winter comes.

On the same bill with this delightful pastoral, a "Shadow of Doubt" crosses the screen. This is a murder mystery which carries Ricardo Cortez and Virginia Bruce through many a night club, until at last the web is unfangled by an astonishingly brusque and perspicacious maiden aunt. If you should have difficulty in selecting the culprit, look for the Yale man, two years out.