When the heat reduces the Will to Live to a minimum, and the press of exams makes life appear a dreary farce, immediate and sure relief may be had by spending a couple of hours at the Metropolitan.

It is impossible to take the feature, Young Sinners, seriously. Nor would it be desirable. Purporting, as it does, to display the futility of existence as existed by modern youths and maids it makes out a very pretty case. Many more feet of film than is necessary are used to impress that the jennesse doer of today waste both time and money in parties a la whoopee. These sequences are unduly exaggerated, and for one who is spending his youth at present hardly convince of verisimilitude. But sense the point is made, the period of rehabilitation is entered and the story moves to an interesting and amusing end.

Whatever may be the state of graces of the hero and the heroine, there can be no doubt of their acting ability. Hardie Albright and Dorothy Jordan convince one of their worthiness from the start. The former was particularly as home in his role of the young wastrel, having appeared before Boston audiences in the stage version of the story last winter. The picture also marks the return of Thomas Meighan, long absent, to the screen. The comeback of a one-time favorite is always a precarious matter, but it looks as though Meighan might make the grade if he is given roles so congenial as that of the Irish trainer in Young Sinners.

The stage presentation is above the average.