Motion Picture Magazine (Aug 1928-Jan 1929)

In Review POWER DROCEEDING on the theory that what's worth doing once is worth doing again and again, Pathe has made another picture patterned after "Skyscraper," with that same rough tough and comical pair, William Boyd and Alan Hale. Again these two swing precariously on girders, and there's a title about their being the flower of Young American Manhood, which someone ought to resent. This time their dizzy, dangerous profession has nothing whatever to do with the story, but is put in, presumably, just for the sake of imitation and a few gasps. William and Alan duplicate their "Skyscraper" roles. They are friendly enemies, rival Romeos, just two big overgrown boys kidding back and forth. The plot consists merely of the fact that they both woo the same girl, and both are nicely stung by her at a cost of two thousand dollars per capita. Alan Hale has a chance to remind us that he was once a hoofer and is still light on his feet in spite of excess poundage. A picture of extremely light banter, mildly amusing. THE BABY CYCLONE '7"' HE star of this picture is a small Pekingese. Supporting ■* him, but rather reluctantly, are such attractive performers as Aileen Pringle, Lew Cody, Gwen Lee, and Robert Armstrong. All either pursuing this insufferable animal, or trying to get rid of him. The plot is about a lady who loves her dog better than her husband, and another lady who loves the same dog better than her fiance. They all fight over him for reels and reels, and in the end are right back where they started. Everyone acts very capably, but against almost insuperable odds. There are a few uproarious moments buried in this mass of so-called comedy. Gwen Lee has a good case of hysterics in the middle of the street, and that helps a lot. But I didn't really begin to enjoy it until the entire cast started mistaking each other for burglars and hitting each other over the head with various blunt instruments. That was really funny, I give you my word. Those who have a strong distaste for lap-dogs may enjoy this, but for most people it will be a waste of time. THE LION AND THE MOUSE LT/TTH the infant industry in its present state of hysterics about talking pictures, any film, no matter how bad, is interesting if it is done with a sound device. And that is the only possible explanation of why people flock to "The Lion and the Mouse," the latest Vitaphone opus. As drama, it is very dull, but movie goers who want to know what the future holds for them had better go. Whole scenes are done with Vitaphone, and the presence of Lionel Barrymore in the cast makes them much less painful than they might otherwise have been. He is excellent, and almost makes you forget to sigh for the golden silences to which you've become accustomed. On the other hand, May McAvoy and Buster Collier had better enroll in the first class for voice culture they can find. You will find that you lose some of the dialogue because Vitaphone doesn't wait for laughs. That it's harder on the eyes than silent pictures. And that it makes the silent portions seem a bit flat. THE BARKER T'HIS is by far the best handling the tent-show scheme has "* had in pictures. It seems to have a lot of reality, though of course I have never traveled with a tent show. And it has ■two of the handsomest ladies to be seen on the screen. None other than Dorothy Mackaill and Betty Compson. Then there are Milton Sills and Douglas Fairbanks, Jr., as father and son, both endowed with enough It to keep the ladies busy making passes at them. The story is of Betty's revenge against her lover, because he has moved out of her compartment and into his son's. And Dorothy is the girl she hires to do the dirty work. Betty looks and acts as she used to when she was probably your favorite star, and holds her own against all newcomers. And as for Dorothy, in her hands revenge is sweet. Not such a good story, except for its one situation, but a very intriguing picture. However, not for the children, unless you're letting them learn about life from the movies. 63