Motion Picture Magazine (Aug 1928-Jan 1929)

MM WHITE SHADOWS IN THE SOUTH SEAS This is the first feature film from the Metro studios to be synchronized for sound effects. The synchronization has not been done especially well, and except for one or two instances adds nothing to the merit of the photoplay. One of the spots where sound has been effectively used is in a sequence depicting Monte Blue teaching Raquel Torres the art of whistling. And even here the action and the sound do not altogether match up. In other scenes wailing noises have been injected where the natives mourn. But as a whole, the sound lessens rather than heightens the illusion. The picture itself is in the epic class, and is well worthy of inclusion on your list of films that must be seen. It deals with the vicious exploitation of a splendid pagan people by the death dealing civilization of white men. Filmed on the original location in the South Seas, it has the additional charm of authenticity. The picture is all Monte Blue, with the newly discovered Raquel Torres offering promise in roles of a similar nature. SUBMARINE This picture emanates from the studio which gave us "The Blood Ship" last season, and it is a decidedly better cinema than its predecessor. Some sequences are reminiscent of earlier pictures, but the big idea is thrillingly original. With a minor motif of the love of two men for a maid, the main theme deals with the rescue of the crew of a sunken submarine by a naval diver. Jack Holt is the diver, Ralph Graves his pal who is imprisoned on the floor of the sea, and Dorothy Revier the girl who almost destroys their friendship. The drama is thoroughly engrossing throughout its length, the undersea shots and the scenes within the submerged hulk being especially impressive. Each of the players has been given such a fat role that it is difficult to say which does the finest work. However, the well-demonstrated ability of Dorothy Revier is a revelation, at least to one who has seen her infrequently in the past, but is determined not to miss any of her future efforts. The picture is synchronized with sound effects which heighten the illusion. THE SCARLET LADY Despite its deficiencies, this photoplay provides its star, Lya de Putti, with the best opportunities the sensational European player has enjoyed since "Variety." The vehicle is a bit cumbersome and creaky getting under way, but once started, it unfolds a rapid-fire action drama of the Red revolution in Russia. The suspense is well-built and carefully maintained. The climax provides a greater kick because it comes with surprising suddenness. Lya is a daughter of the people who falls violently in love with the aristocratic Prince Nicky in the person of Don Alvarado. Two very excellent actors, Warner Oland and Otto Matieson, provide the menace. Lya is impressive in the dramatic sequences, but is not the type for the now-you-chase-me moments which occasionally intrude. Given proper story and direction, De Putti is the peer both in beauty and in talent of any of the highly publicized imported stars. This effort should start her on the upward trend. LIGHTS OF NEW YORK This is the world's first full — length talking picture. And as such is intensely interesting. The story itself is trite, except for one unusual sequence holding nothing of originality. This shot depicts the placing of the body of a murdered man in a barber's chair in order that the police may be foiled. The plot deals with bootlegging gangsters and the victimization of a country boy. The dialogue is marred by the apparent inability to record "s" sounds, and by the monotonous sameness of the masculine voices. It is difficult to say which of several characters is speaking — it is thus far impossible to have the actors speak with their backs to the camera and the recording device. Nevertheless, because of its novelty, and the promise it holds of great accomplishment in the realm of sound films, the dialogue is fascinating. Cullen Landis and Helene Costello play the leading roles unimpressively. Gladys Brockwell as a cast-off sweetheart, Wheeler Oakman as the villain, Robert Elliott as a detective, and Tom Dugan as the barber, contribute the most creditable performances. The voices of Elliott and Miss Brockwell recording particularly well. Talker-tape: a strip of Movietone film. The pictures are in the squares on the left; the sound-record is on the narrow right-hand margin Soundings News, Views and Previews of the Speaking Screen By HERBERT CRUIKSHANK 1 I /' " '~J JP I \ 1 • '■ V ' >HF ^ i rv *Vi **^tf "■Stef 1 Many a woman speaks of moments when she wishes she might have dropped through the floor. But this actress, who's actually had the experience in "The Last Warning," a new talkie, isn't one of them THE Smithsonian Institute is busy sweeping out a vault which will preserve Warner Brothers' picture, "Lights of New York," for our great-greatgrandchildren. It will always be of interest. It is the very first full feature-length talking picture ever shown to the public. Of course, there will be hundreds — thousands — to follow. And they will emanate from every studio in America. But the Warner boys and their "Lights of New York" will be remembered as the first. And incidentally, it is wise to remember that there is a difference between sound pictures and talking pictures. Even now, practically all films in the making will be synchronized to noise effects. But for some time to come there will be a scarcity of real talking pictures: pictures in which the players speak. Paramount's Richard Dix film, "Warming Up," has sound.. So has First National's "Lilac Time" and Metro's "White Shadows." But so far, no speakies have been released. The Fox people declare that they will have five one-hundred per cent, talking pictures ready by the first of the year. Their first is called "Behind That Curtain," and the second, "Through Different Eyes." There will also be a comedy and an underworld story. The Fox sound device is Movietone. One of the interesting developments is the use of Vitaphone by Warners in announcing on the screen their coming attractions. These "Coming Next Week" reels are called trailers. Warner has introduced the talking trailer. For instance, in telling of their film, "The Terror," which has both sound and dialogue, Alec Francis, who plays one of the characters, appears on the screen and talks about {Continued on page 120) 66