"So Red the Rose," playing this week at the Metropolitan, is a picture that is distinctly heartening to one who has begun to envision a complete relapse, if not collapse, of Hollywood production. Stark Young's book of the same name, contained the germ of a truly dramatic idea, and the sensitive adaptation by Sherwood Anderson and Laurence Stallings made the most of it. The scene is laid in Missouri during the Civil War, where we find Randolph Scott in the role of the forerunner to the modern conscientious objector. He "likes to see things grow," and hates destruction. His mature and civilized ideology run counter to the inflamed and destructive passions of the times. Consequently he is socially ostracized, is called a coward by his beloved cousin (Margaret Sullavan), and is torn by divided loyalties. Before the war is over, he capitulates and joins the Southern side, and then comes the complete transformation into a soldier, whose one dominating instinct is to kill.

The theme is a stimulating one, and handled with proper emphasis and directorial skill. One might wish to see the pacifist remain true to his ideals and declare once for all that, when it comes to war, the individual must assert himself even if it was contrary to the group. This is a vital problem, one of dramatic and almost necessarily tragic intensity, which "So Red the Rose" has introduced, but not fully developed.

Much of the picture deals with the struggle behind the lines; the spirit of the womenfolk, slaves insurrections, and the war's repercussions on the home, Margaret Sulivan contributes her most outstanding, role in an outstanding, if relatively short career, as a charming and rather giddy Southern belle metamorphosed into a fine character by many sorrows. Walter Connolly and Janet Beecher as her father and mother share honors only with Margaret Sulivan. And over Randolph Scott, under inspired direction, makes the role of the pacifist convincing. "So Red the Rose" is worth seeing not only because it has fine actors, is ably directed and beautifully photographed, but, more important, because it grapples with a living idea.

The stage show is below par for the Met. However, Fablen Sevitaky and the Elida Ballet prevent it from totally slipping off the deep end.