Hollywood Spectator (Apr-May 1939)

only out-of-hand player in Ride High is Rooney, and he certainly can stand a lot of taming if the series is to continue. In most of his scenes he succeeds only in being ridiculous. The fault cannot lie in the direction, as it was Seitz who was responsible for the excellent performances Rooney gave in the pictures which established his reputation. Story Is Not Convincing •I The Ride High story does not ring true. It takes the family out of the home-folks atmosphere which was its greatest strength. And it takes Judge Hardy out of character by giving him a moment when he is on the point of committing a crime to obtain money upon which he has no legal claim. He does not commit the crime, but it is to his discredit that he thought of it, and not at all to his credit that he did not go through with it. Honesty is something we take for granted, and no man can preen himself upon practicing it. In every picture in which Judge Hardy appears hereafter there will rise before him the ghost of the crime he almost committed. Ride High, of course, is not a total loss. It has many scenes which ring true and others which are exceedingly funny. It is mounted somewhat more imposingly than others of the series, the Metro technical experts again proving themselves masters of their crafts. With the exception of Rooney's, all the performances are excellent. Lewis Stone, of course, is the same dependable and sincere artist, even the moment of weakness to which I object, being put over with skill. Fay Holden is again the model mother, and Sara Haden, the oldmaid school teacher, here becomes a butterfly, and a most engaging one. Cecilia Parker and Ann Rutherford are as charming as ever. Minor Watson and George Irving have important roles. Among those who appear briefly, I spotted Marsha Hunt. There is a girl who could get somewhere if some producer would give her a chance. Story somewhat more involved than previous ones of series , consequently has less juvenile appeal. Rooney’s performance will disappoint his adult admirers. ★ A Plea and A Play, by Welford Beaton. A plea for less dialogue in screen entertainment and a screen play to demonstrate how it can be done. One of the first comments on it: “Thank you for giving us the clearest treatment of the dialogue nuisance yet presented. It has been included in the text-books for our motion picture appreciation class.’’ — Price, one dollar. Hollywood Spectator, 6513 Hollywood Boulevard, Hollywood. ★ The Spectator has the widest circulation among educational groups of any film publication. England Sends b„ One of the Best 9 STOLEN LIFE; Paramount release of an Orion production; produced and directed by Paul Czinner; adapted by Margaret Kennedy; from the novel by K. I. Benes. Stars Elisabeth Bergner and Michael Redgrave. Supporting cast: Wilfrid Lawson, Mabel Terry Lewis, Richard Ainley, Kenneth Buckley, Cyril Horrocks, O. B. Clarence, John Lloyd, Roy Russell, Oliver Johnston, H. Regus, Devina Craid, Dorothy Dewhurst, Fewlass Llewellyn, Paulette Preney, Ernest Ferney, Stella Arbenina, Kaye Seely, Pierre Jouvenet, Dorice Fordred, Cot O'Ordan, Annie Esmond, D. J. Williams, Clement McCallin, Cayenne Micheladzse, Cyril Chamberlain. Running time, 90 minutes. RARE treat, this one, with one of the world’s greatest actresses teamed with one of its most agreeable leading men: a human story, told with leisurely progression, as is the English way, and backgrounds differing refreshingly from those we are used to seeing. We get few pictures from abroad which match in excellence Stolen Life, consequently American audiences have not been taught to look for them: and, as a further consequence, I am afraid this one will not earn the patronage its merits entitle it to, although locally the discriminating patronage which Manager Bruce Fowler has developed for his Four Star Theatre should assure it a long run. Stolen Life presents Elisabeth Bergner with an opportunity to give her greatest purely mental characterization. She plays a dual role as each of a pair of twins, one — the leading character — a thoughtful, earnest girl of high character: the other a vibrant, unscrupulous trifler with easily adjustable moral principles, who ruthlessly steals from her s’ster the man the latter loves, marries him, then falls in love with another. Story a Simple One <| As must be the case with all really great photoplays, the story of Stolen Life is a simple one which could be told in a couple of reels. As told on the screen it holds our lively interest for seven or eight reels by the sheer force of the artistry put into it by the writer, director and players. In the dual capacity of producer and director, Paul Czinner acquits himself brilliantly. I cannot recall at the moment an American picture which was given more discerning direction, one which conveys a greater suggestion of intimacy, the quality which makes us feel we are a part of it, friends of the family, permitted to share the joys and sorrows of those composing it. In each of the widely diversified phases of her characterization Miss Bergner is superb. And, thanks to her and to the director, we have a picture in which a player assumes two roles without making us hear the creaks of the cinematic machinery as it turns out the story. We see and become acquainted with two separate and distinct characters, so individual does Miss Bergner make each of them. Harmonious Acting Pattern <J It is all of a quarter of a century ago since I saw all the principal plays being presented in London theatres, but there lingers with me yet the memory of the evenness of all the performances, the harmonious acting pattern in which the small bits were of the same quality as the larger parts of the fabric. The best English pictures coming to us from time to time have the same quality. Stolen Life is no exception. Miss Bergner’s costar, Michael Redgrave, made an impression upon all those who saw him in The Lady Vanishes. In Stolen Life he again distinguishes himself, but every part, down to the smallest, leaves no room for criticism. Technically, the picture is fully up to the best Hollywood standard. Sound recording is excellent, as it had to be in a picture in which there are no raised voices and in which several speeches are whispered. Photography also is of high standard. Too fine of texture for any but discriminating audiences. To study groups it presents an opportunity to compare direction with the best given Hollywood pictures. An attraction for first class theatres in larger cities; not for small town houses. Could Ha ve Been a if hole Lot Better 9 CALLING DR. KILDARE; MGM; director, Harold S. Bucquet; original. Max Brand; screen play, Harry Ruskin; musical score, David Snell; recording director, Douglas Shearer; art director, Cedric Gibbons; associate art director, Gabriel Scognamillo; set decorations, Edwin B. Willis; photography, AHred Gilks and Lester White; film editor, Robert J. Kern. Cast: Lew Ayres, Lionel Barrymore, Laraine Day, Nat Pendleton, Lana Turner, Samuel S. Hinds, Lynne Carver, Emma Dunn, Walter Kingsford, Alma Kruger, Bobs Watson, Harlan Briggs, Henry Hunter, Marie Blake, Phillip Terry, Roger Converse, Donald Barry, Reed Hadley. Nell Craig, Ueorge Offerman, Jr., Clinton Rosemond, Johnny Walsh. Running time, 86 minutes. OT having seen the first picture of the Dr. Kildare series, I am not in a position to compare it with this one; but as the first scored a success, it must have been better entertainment than this one, which is unpleasant even though most capably directed and satisfactorily acted by a well chosen cast. And. of course, it has one of Metro’s complete and visually attractive productions. As I understand the series, its purpose is to keep us interested in the progress of a clever young doctor (Lew Ayres) whose career is being guided by an APRIL 29, 1939 PAGE NINE