Exhibitors Herald World (Oct-Dec 1930)

32 EXHIBITORS HERALD -WORLD October 4, 1930 sereen that it in no way intrudes but, on the other hand, enhances and stimulates the action. Most of the situations, as well as the acting, are good for laughs, especially when Miss Delroy and Cody by accident get into the back seat of an automobile in which Miss Moorhead has insisted that Hall take her for a ride. The four get stuck in the mud and are robbed. At this point, they learn for the first time that all are in the car. Clever direction and dialog make even the rain, the stalled car and the robbery a laugh. — Edward Churchill, Hollywood. A LOVE IN THE ROUGH MUSICAL. Produced and distributed by Metro-Goldwyn-Mayer. Director, Charles F. Riesner. Author. Vincent Lawrence. Adaptor, Sarah Y. Mason. Dialog, Joe Farnham, Robert E. Hopkins. Editor, Basil Wrangell. Photographer, Henry Sharp. Sound, Douglas Shearer. With Robert Montgomery, Dorothy Jordan, Benny Rubin, J. C. Nugent, Dorothy McNulty, Tyrrell Davis, Harry Burns, Allan Lane, Catherine Moylan, Edward Davis, Rosco Ates, Clarence H. Wilson. Release. September 6, 1930. Footage, 7668. Running time, 1 hour 15 minutes. 1 HE musical numbers in "Love in the Rough" are good, but the picture itself falls short of good musical entertainment. The fault does not lie with the actors. Rather, it is the nature of the story and the manner in which it has been presented as film entertainment. In the opinion of some exhibitors, however, the popularity of the songs, principally "Go Home and Tell Your Mother," will give the picture a draw and contribute to audience satisfaction. Other songs include "I'm Learning a Lot from You," "I'm Doing That Thing" and "One More Waltz." The story is of the golf links and this angle should not be overlooked in the exploitation of the picture. Every community, large or small, has its golf enthusiasts and these people should be sold on the picture. Benny Rubin provides the comedy. He has done well by his role, although some of his material has been brought in without regard for continuity. Both of the principals, Robert Montgomery and Dorothy Jordan, in all but one song ("Go Home and Tell Your Mother"), are excellent and have very pleasing stage voices. J. C. Nugent, likewise, can be credited with a finished portrayal. As a whole, however, the picture is not up to standard. — Jay M. Shreck, New York City. A THE PAY OFF INGENUOUS. Produced and distributed by R K O. Directed by Lowell Sherman. Art Director, Max Ree. Photography by Roy Hunt. Recording by Bailey Fester. Edited by Rose Smith. Cast: Lowell Sherman, Marian Nixon, Hugh Trevor, William Janney, Helene Millarde, George Marion, Walter McGrail, Robert McWade, Alan Roscoe, Lita Chevret, and Bert Moorhouse. L. /OWELL SHERMAN'S newly born career as a director-star is blossoming well, it is evidenced by his conscientious and productive efforts in "The Pay Off." It is a seven reel picture that shows him off to good advantage. He is more or less of a Robin Hood but nevertheless a villain. The picture being what it is, — a good program length feature — not a great deal is expected in the way of astonishing sets, shots and acting. Yet it boasts of ingenuity in all these items. It has a fine strength of story from the point where the two youngsters are taken, in highway robbery style at the outset to the point where they become charged with manslaughter in the closing sequences. Although Janney and Nixon are not stars in the production their roles are extremely important and they succeed in winning the sympathy of the audience at once. That sympathy later envelopes Sherman too when he throws aside his menacing role and signs away his life to save the two from trial. Sets are not numerous; but where one set may have been saved there is richness put into the remaining one. The place where much of the business takes place is that of a night club. It is a beautiful thing. Much credit is due the cast and the director, chiefly because of the smoothness and sensibleness with which they have worked. The scene between Sherman and Alan Roscoe near the finish has the structure of many crime pictures: one is a district attorney, the other an arrested criminal. Yet the scene is interestingly convincing. Nixon and Janney again enter that part to aid in the stage business of course. This picture deserves at least high commendation.— Douglas Hodges, Hollywood. A THE BOUDOIR DIPLOMAT WELL DIRECTED. Produced and distributed by Universal Pictures from stage play, "The Command to Love," by Fritz Gottwald and Rudolf Lathar. Directed by Mai St. Clair. Adaptation, Benjamin M. Glazer, Cameraman, Karl Freund. Cast: Ian Keith, Mary Duncan, Betty Compson, Lawrence Grant, Jeanette Loff, George O'Hara, Lionel Belmore, Andre Beranger. OT. CLAIR, who has done many good pieces of satire for Paramount, is the director Universal assigned to this picture and he again displays the talent he has for it. This as a stage play was a much more satirical work but not more entertaining. As a stage play it was much more "boudoir" than as a screen play. In fact, the boudoir part of the play has been largely eliminated, and quite fortunately. Practically the only cause for calling Ian Keith such a diplomat is that he has a propensity for hiding any one guest in the bedroom of his apartment while he entertains another in his living room. It is done quite gracefully and with a great deal of humor. All suggestiveness has been omitted. It is the kind of role Barrymore does so dextrously. Keith is a little unexciting in it, but he has many of the qualities the role demands. Others of the cast who deport themselves creditably include Mary Duncan and Betty Compson. Andre Beranger steals every scene he appears in. Jeanette Loff is the girl who finally marries Keith but her scenes in the show are very few. It is a good program picture. — Dougles Hodges, Hollywood. A HER WEDDING NIGHT MIXED HUSBANDS! Produced and distributed by Paramount. Directed by Frank T utile. Author, Avery Hopwood. Edited by Doris Drought. Cameraman, Harry Fischbeck. With Clara Bow, Ralph Forbes, Charles Ruggles, Skeets Gallagher, Geneva Mitchell, Ro s i ta Moreno, Natalie Kingston, Wilson Benge, Lillian Elliott. Release date, October 18, 1930. Footage, 6924. A, lDAPTED from the stage show, "Little Miss Bluebeard," this starring vehicle of Clara Bow is distinctly farce comedy, which in certain sequences borders closely upon slapstick. Charles Ruggles puts sure fire laugh punch into the film, ably seconded by Skeets Gallagher. Neither Clara Bow nor Ralph Forbes, however, does particularly noteworthy work, though the complicated situation in which they figure is sufficiently humorous to carry them through satisfactorily. For the most part the film centers in and about a bedroom in a hotel in the south of France. Forbes plays the part of a composer who, in an attempt to escape a host of feminine autograph seekers, permits his friend, Gallagher, to impersonate him. Clara Bow is a wellknown screen star on a vacation. They all happen to be on the same train bound for a French resort. When Gallagher and Clara are left stranded on a way station platform, they apply to the mayor for a night's lodging. Accidentally, he marries them, and the knot of complication has its first loop. Gallagher is already engaged, and Forbes, who has been thus married by proxy, is much sought after by several young women. At the hotel there ensues the rather familiar tangled situation, which finally straightens itself out to the satisfaction of all concerned. Ruggles as Bertie Bird is apparently merely a friend of the two, playing no vital part in the progress of the story, but as a matter of fact providing the real kick in the picture. His appearance is awaited with barely concealed anticipation by the audience, which goes into spasms of laughter at each fresh series of antics on the part of the comedian. This picture is one more large feather in the cap of Charles Ruggles. The dialog is quite as familiar as the plot of the story itself, but the gags seem to catch well with the audience, particularly when Gallagher and Ruggles put them over. The bedroom scenes reach their climax at a house party, when there is an excessive amount of running about in and out of rooms and jumping on and off beds. However, it is rather good fun and not at all offensive. The situation is wound up and unwound again at rather too great length, but not to the extent of becoming monotonous. In fact, one would almost wish Ruggles to continue after the story is finished. This is just a good lively hour's entertainment, chiefly through the work of one whom I consider the best comedian on the screen today. — Charles S. Aaronson, New York City. A AFRICA SPEAKS THRILLS AND ADVENTURE! Produced by Paul L. Hoefler for distribution by Columbia. Prepared for presentation by Walter Futter. R EEL after reel of excitement! That tells the story of "Africa Speaks," which has packed them in at the Globe theatre in New York since immediately following the special showing last Thursday night (September 18). Other wild game pictures may have been intensely interesting (and were, in fact), but sound and dialog have made this type of attraction 100 per cent more effective. "Africa Speaks" is a showman's picture, for it has been assembled with that in mind. Here is drama. Here are scenes the like of which, to the knowledge of this writer, have never been shown before. Highlights of the picture which for sheer thrill should bring down any house are: The killing of a native by a lion. The locust plague in which millions upon millions of these insects denude a vast area of all green vegetation. The great flock of flamingoes, including perhaps millions of these birds. A lion's search for food ending in his killing of a wart hog. The killing of a lion with spears by a group of natives in revenge for the death of one of their own. Photography is very clear throughout the entire length of the picture. Add to this thrills, drama and rapid action and you have elements so necessary to box office. This reporter wishes to offer his criticism of just one feature of the picture. It is his opinion that scenes of Hoefler and a comrade on the expedition have been used too frequently. This is by no means serious, but it would have been more effective had such scenes appeared less often. It looks like box office. — Jay M. Shreck, Neiv York City.