For those who have seen Lionel Barrymore's death throes in "Stranger's Return" and "Dinner at Eight," "This Side of Heaven" will be just another picture for Barrymore to die in.

The story of the picture is very domestic and does not impress one as being particularly original. Nor does it present any new views of anything. Its theme is that of the harassed father, worried by business troubles and surrounded by a conventionally affectionate family which is entirely wrapped up in its own affairs. Something happens, the family undergoes a change and comes out stronger, better, less self-centered, and realizing how much they really love the head of the house.

In this case the father is harassed by the thought of the consequences of an unpaid check which he was persuaded to sign under the pretense of saving the company for which he was Chief Accountant.

While the desperate father is on the verge of committing suicide, the other members of the family go about their varied affairs unheeding his distress. Fay Bainter, as the mother, is particularly good. Her acting leaves little to be desired, save perhaps by those who would rather watch homely emotions play over a more beautiful countenance. Her particular preoccupation is going to Hollywood to direct the picture which a book she had written, had inspired.

The children, Peggy, Jane, and Seth, played respectively by Mary Carlisle, Mae Clark, and Tom Brown, all have interests, or rather complaints, of their own. In Peggy's case it is a too-young college girl's desire "to lead a life of her own" that causes the eventual smash and "disillusionment." Jane's trouble centers in her fiance, a too-practical, selfish man. Least likeable of all is Seth, whose chief hope in life is to make the best fraternity and wear the best clothes. It is Seth's automobile accident that finally arouses the family instants of the group and brings on the inevitable happy ending.

There is nothing distinguished about this latest Barrymore film. Lionel Barrymore is chiefly Lionel Barrymore, with his usual worry-expressing forehead-stroking motion of the hand in great evidence. This is not his best picture by many leagues.

The companion picture has Joan Blondrell acting with the Gable like Pat O'Brien in "I've got your Number." Renors go rather to Mr. O'Brien in "I've got your Number." Renors go rather to Mr. O'Brien than to Miss Blondell. The picture is fast-moving, amusing, and has its romantic moments.