Miss Grace moore's charming presence, her excellent voice, the haunting, melodious main arias of Puccini's "Madame Butterfly" and Bizet's "Carmen" all combine to make "One Night of Love" the very best of this year's musical films. On the merit of her voice alone Miss Moore has won a high place in the Metropolitan Opera's list of sopranos and in this, her first moving picture, she proves to be even more delightful on the screen than on the stage. She is deservedly the toast of New York, a beautiful lady with a glorious voice.

Miss Moore's talents are given more than adequate support by the suave charm of Tullio Carminati, the explosive humour of Louis Alberni, and the truly excellent technical and musical work which have been expended on this picture. Despite these other virtues, however, the film is all Miss Moore's. The plot is simple and straightforward and has the great advantage of providing Miss Moore with the maximum opportunity for using her voice. She sings all sorts of music ranging from the modern "One Night of Love" to the difficult last act aria of Madame Butterfly all with finished technique and remarkable richness considering that she is heard not directly but by mechanical reproduction. The great success which this film has already enjoyed should convince the movie moguls that good music and capable acting can produce good and profitable entertainment.

The vaudeville bill at the Orpheum this week is better than usual. Bob Hall, who bases his work on the daring assumption that a vaudeville act can be amusing without being vulgar, is really entertaining with his extemporaneous verse and lyric philosophy. The three Tripp brothers and their female associates are better than the average comedian-dancers and the acrobats are unusually daring.