There is a certain something about the way Ruth Chatterton cavorts upon the screen that invariably brings sobs to the throat of one's partner in misery at the neighborhood playhouse. This rule will be found particularly true at the University Theatre this week, with the tragedy queen playing the leading role in "Unfaithful", which is another of those stories.

Miss Chatterton, as Fay, has been mated with the "catch" of the London season, which proves to be Paul Cavanaugh disguised as Ronald Kilkerry. We are given to understand by those in authority at Hollywood that his lordship is infatuated with the sister-in-law of her ladyship; the inevitable lost cigarette-case and characteristic handwriting give the show away to Miss Chatterton before the first hundred feet of celluloid have run out.

Divorce is threatened, but it seems that the show must go on, and our heroine resigns herself to a crescendo of debauchery, involving no end of Hispanos, black tights, snap-shots of the Rivierra, and scenes which must be familiar to every movie goer. As Miss Chatterton lights her twenty-fourth cigarette, by actual count, in a pleasant rural district with a cow, a goat, a horse (property of Paramount Picture Corporation), in strides Paul Lukas, with his easel under one arm. Mutual infatuation. Complications, of a very simple nature.

While the Chatterton-Lukas combination is riding on busses and getting wet, his lordship decides to elope with the sister-in-law, and we see him going hell-for-leather through the night. We then hear a crash, and back through the drifting fog comes the distraught figure of the sister-in-law. Next day in the London domicile there is the Chatterton scene, in which her ladyship sacrifices her reputation to save her brother from mortification and despair. We are left with a fleeting glimpse of Mr. Lukas at the wheel of a powerful car, on the way to the English equivalent of a justice of the peace. He would probably make Miss Chatterton a very good husband, but we sincerely trust he lets her do the driving.

Miss Chatterton as usual was more than an excuse for the plot. She labored under difficulties inevitable when Hollywood goes London. Perhaps someday a director will realize that even in America we have our heart-throbs in a polite and cultured way. Not often, but occasionally.

We heartily recommend the various "short subjects", and the accompanying comedy. "Don't Bet on Women", featuring Jeannette MacDonald. And the news-reel.