With a feature in Technicolor, another in black and white, and a short especially compiled to answer the freak demand for old-time "silents," the current program at Loew's State and Orpheum should please just about every generation.

"Nothing Sacred" stars Carole Lombard in Ben Hecht's story of the girl who faked radium poisoning so that a New York tabloid would rescue her from Vermont and show her how America lives. If the picture is not as hilarious as advance ballyhoo led everyone to believe, it is because Frederic March takes his part as the obituary editor (and Mr. Hecht's means of de-bunking New York) altogether too seriously.

The picture is not hysterical; it is very funny, and that is all. It is not a satire. Satire is carrying a thing ad absurdum, and New York will go and absurdum of its own free will. And while we are bucking the nation's critics we might add that the color is not nearly so bad as they say it is.

"Nothing Sacred" was produced by Selznic International, which is vaguely affiliated with United Artists. David O. Selznic happens to be in the good graces of John Hay Whitney, who owns the Technlcolor process, the best color process developed commericially to date. Last year he produced "A Star is Born," with all those frightful orange and blue sunsets. After much experimenting, for which his color director, William A. Wellman, deserves great credit, he has produced in "Nothing Sacred" the most true-to-life film yet to appear. When Miss Lombard is draged out of the East River, she looks wet. When we see her with an ice-pack the morning after, our heart goes out to her. We liked her when her hair was gray and her face was gray and her clothes were gray; but we like her better now.