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Show m TO I CfiOEi THEATRE I What is the real ba.-L and the real test of a preat motion pic'ure drama? A group of the most noted psjeholo- pists in the country has beenNnaking jH i an intensive study of screen drama, : seeking to discover, in the absence of (he sound Of the human voic? that H ' adds tangibility to the stage play, what are the main elements that grip the ' j spectators' attention. f H And the answer to their inquiries is: H Emotional drama that rivets the eyes H Of audiences on the screen and holds , I them totally oblivious of the spoken g I , titles; audience controlled by the act- H I ing of the players themselves. I In the remarkable J Parker Read H Jr.. production. "Sahara." starring H Louise Glaum in a story by C. Gard- H , in r Sullivan and personally supe.vl.sed H by Allan Dwan, there are expanses of I i hundreds of feet of scenes in which I I no one becomes conscious of the in- I tru.-ion of a single narrative or spoken i ' title. This unusual production, which I j is a Hodkinson release. Is the at'jac- y I j t ion Sunday at the Ogden theatre. ' I j Audiences rate it as one of the few I i great stories of the past year or tv o I ; in motion pictures. "Sahara" abso- I ,lutely rivets the attention of the on- I , looker One cannot look away. It I brings tears: It has terisity; it strikes I I at the heart and the brain. It has I warmth and color. It carries the gla- B nior and color of the desert and the I sweet scents and odors of the LasL I "Sahara" easily ranks as an unfor- I gettable picture. I |