Lois Weber has the reputation as a severely moralistic director of films that take themselves too seriously-a reputation earned from early works she often also wrote, produced and acted in, sometimes in collaboration with her husband, Phillips Smalley. But the 1921 Too Wise Wives (in which Smalley plays one of the husbands) is another matter-droll about woman's place in high society, with a wry subtlety not surpassed until Lubitsch's American silents. In a film released 65 years ago, the fashions may seem archaic and the camera style static, but the psychology holds true in a way that makes Traffic in Souls look like something from another century. The issue here, illustrated through a contrasting pair of married couples, one rich, the other richer, is how to play "the role" of wife. Evidently for Louis Calhern this means something more than fussily cleaning up cigar ash or knitting wool slippers ("his pet abomination"). It's a far from perfect film but validates Weber's sense that "a woman more or less intuitively brings out many of the emotions that are rarely expressed on the screen. I may miss what some of the male directors get, but I will get other effects." Leading off tonight's program is a one-reel comedy from 1913, A House Divided, with concise and parodic characterizations of an estranged husband and wife who agree "to live separately together" by signing a contract prepared by "a friend of the family-the lawyer." Scott Simmon