Since it is set in the early nineteenth century and built around the life of Napoleon Bonapart, "Conquest," the current feature at the University, might well have been simply another historical drama. Actually, it is far more than that; it is a careful portrayal of a very human character. So masterful is the direction and acting, and so vivid is the resulting picture of Napoleon, that if for no other reason, "Conquest" is an outstanding success.

Charles Boyer, as the Emperor, is excellent. Actually, however, it is the sensitive acting of Greta Garbo which enhances the value of Mr. Boyer's portrayal. As the Countess Marie Walweska, with whom Napoleon falls deeply in love, she is a perfect foil for her leading man.

We know that the Emperor is hard and uncompromising not so much because of his thundering orations as because of the fact that Marie is so tender and generous in comparison. We know that he was ambitious, determined, and belligerent, not so much because he marches to and fro with his jaw protruding and his brow wrinkled in a perpetual scowl, as because Marie is by comparison so very peace-loving and kind. Mr. Boyer is the star because it is the character of Napoleon which is the center of interest; but it is the acting of Miss Garbo which makes the film memorable.

Since the primary interest of "Conquest" is the portrayal of character, the story is of second importance. It must be said, however, that in this category the film is weak. There are glimpses of the Polish desire for independence, of the growth of Napoleon's empire, and of the great retreat from Russia, but little attempt is made to tie these strands together or to indicate their relation to the major theme. Moreover, the love affair itself is not logically treated; it is, for instance, quire impossible to believe that the Countess could hate napoleon in one moment and love him in the next simply because in the meantime he had delivered a noble address on liberty and democracy. Nevertheless, its excellent acting saves "Conquest" and raises it to the level of an outstanding film.

"Prescription for Romance," which completes the bill, is mildly amusing, but of necessity suffers from contrast with the main feature. Its theme is very familiar: villain absconds with company's funds; innocent girl shelters him; detective and girl fall in love; all ends happily. Nevertheless, the treatment is light and humorous, and Mischa Aue as a phoney count provides many a ridiculous sequence.