Motion Picture News (Oct-Dec 1930)

52 Motion Picture News October 4 . 1930 Opinions on Pictures Check and Double Check (RKO) "Dis Am Sumpin'" (Reviewed by Bill Crouch) WITH draw names like Amos 'n' Andy, plus fine entertainment qualities, "Check and Double Check" should do big business in any theatre. The performance given by the blackface pair is exceptional in this, their initial film venture, which proves that the boys are capable of becoming screen favorites as well as radio idols. This one is geared for all kinds of runs. It should prove especially attractive in the smaller cities and neighborhood houses. The talker offers unlimited exploitation angles and, with the daily radio plug adding to the name, should line them up at the box-office wherever it plays. KKO, in making this picture, has closely watched the racial situation and is well protected against injuring the feeling of either blacks or whites. In only one scene are the two classes shown together, and then with no familiarity. Southern cities, where racial feeling may be pronounced, will find nothing in the picture to cause objection. From a production standpoint, the picture is not above average. No lavish sets are used as these would undoubtedly not be in keeping with the story. A number of process shots are used and these are very well done. The story deals with Amos 'n' Andy and the Fresh Air Taxicab Co., Incorpulated. The boys contract with Kingfish to haul Duke Ellington and his band to the Blair mansion. Here the lads met Charles Morton, son of their former employer. Morton is in love with Sue Carol, and were it not that he is unable to find the deed to some property, giving him his share of the family fortune, he would marry Sue. Morton believes the lost deed is in the old and deserted family home. He decides to search for it. Ralf Harolde hears of the plan and, being a suitor of Miss Carol's, decides it would be to his advantage to search for the deed first. On the night of the search by Harolde, Amos 'n' Andy are delegated by the "Knights of the Mystic Sea" to visit the old house and find a paper marked "Cheek and Double Check." The boys enter the house after Harolde and his companion. They find the paper marked "Check and Double Check" and also the deed. When confronted by Harolde, they are asked to give up "the" paper and they give the "Check and Double Check" paper to him. Harolde, thinking he has the deed, leaves, as do the boys, who are very much frightened. The next day Morton searches the house, but fails to find the deed. Discouraged, he is all ready to leave by train when Amos 'n' Andy show up with the document. Morton then marries Miss Carol and sends part of the wedding cake to the boys, who, on their way to visit Madam Queen and Ruby Taylor, fall and drop the cake — and the story ends. This story, while rather slight, gives the lads a fine background for their comedy. They do not force any of the gags, and the laughs come naturally — and often. One noticeable thing about the acting is that none of the players tries to "steal" any scene. When one player is speaking the others give him his chance, and it is this attitude that helps the picture considerably. The acting of both Amos V Andy is at a par. Neither one outdoes the other, and the honors are even. Their voices are very good and the dialogue is clear — when the audience stois laughing long enough to hear it. Kingfish is well portrayed by Russell Powell and he makes the character most interesting. The remainder of the cast, which includes Sue Carol, Charles Morton, Ralf Harolde, Irene Rich, Rita LaRoy and Edwin Martindel, is most satisfactory. Duke Ellington and his orchestra provide some tepid musical numbers and in great fashion. One song, "Three Little Words," is a potential hit. Mel Brown's direction shows his ability at bringing out the natural humor supplied by Amos V Andy, and he keeps the talker moving swiftly. Cartoons and semi-serious shorts will fit here. Produced and distributed by RKO. Directed by -Melville Brown. Story, music and lyrics by Bert Kalmar and Harry Ruby. Associate producer, Bertram Miilhauser. Adapted by J. Walter Ruben. Cameraman, Win. Marshall. Length and release date not set. THE CAST Amos Freeman F. Gosden Andy Charles F. Correll Jean Blair Sue Carol Richard Williams Charles Morton Ralph Crawford Ralf Harolde John Blair Edward Martindel Mrs. Blair Irene Rich Elinor Crawford Rita La Roy Kingfish Russell Powell Father's Son (First National) Intensely Human (Reviewed by Jack Grant) HERE is a saga of boyhood that stands as one of the finest things of its kind since the talking era began. It is a real story of a real boy — so humanly told it almost hurts. Seven years ago William Beaudine turned out a classic in Booth Tarkington's "Penrod and Sam." The following year, he repeated the trick with "Boy of Mine" by the same author and featuring the same youngster. Both were memorable successes. In "Father's Son," Beaudine faced another similar assignment. The original story, "Old Fathers and Young Sons," came from Booth Tarkington's pen. Ben Alexander, since grown up, was replaced by Leon Janney, who will be remembered as the boy in "Courage." Like all of Tarkington's kid stories, "Father's Son" is much of the Penrod formula. Containing very little plot "construction, it is mainly a series of episodes. There is, however, a bit of propaganda concerning the possibility of misunderstandings arising when the father is old and the boy is young. Lewis Stone believes his mere word should be law to his son, Leon Janney. Just a regular feller, Leon is heedless of corrections without meaning to be. His father punishes him by ordering him to stay in his own yard. But when the kid sees a tire drop off a passing junk dealer's wagon, he forgets the restriction to run out and return it. At the invitation to ride — and better yet to drive the horse — all memory of his father's orders vanish from mind. The subsequent punishment is even more severe. Leon decides to run away. The neighborhood doctor finds him wandering in the woods and after discussing the matter "man to man," drives the sleepy kid home. Seeing that the father is contemplating stricter discipline, Leon's mother, Irene Rich, delivers her ultimatum. Either the boy's escapade is overlooked or they will both leave. The father is adamant. Loneliness changes his viewpoint. He begins to realize the necessity of understanding his son's problems and ruling him with comradeship. Then the circus comes to town and Leon carries water for the elephants to earn a pass to take his friend, the doctor. It is the final straw. The father acknowledges his mistake and the last scene shows father, son and the doctor fishing together. If the father in the story had known as much about real boys as Tarkington and Beaudine apparently do, there would have been a different yarn. Beaudine was just the man for the job of directing. With simplicity and hnesse, he pictured this American family with a great humanness and appeal that cannot be denied. In only two points can exception be taken to reality, though both may be possibly charged to dramatic license. Nevertheless, I do not believe any doctor would take a small boy into a patient's sick room or that any mother would not stop her son from juggling dinner plates. Minor criticism, but standing out like sore teeth in what otherwise would be near perfection of detail. Irene Rich and Lewis Stone contribute their usual smooth performances and John Haliday is noteworthy as the doctor. But the laurels are usurped by the boy Leon Janney. He has none of the offensive mannerisms of the usual child actor and reads his lines like an old trouper. Take note also of the litle colored boy, Robert Dandridge, playing Vestibule, a character reminiscent of Herman and Verrnan in the Penrod stories. Mickey Bennett likewise deserves mention. "Father's Son" is not the best box office title in the world, but the picture will please everyone in the audience who has not forgotten their own childhood. For both kids and their parents it is a natural. No particular recommendation in shorts. Produced and distributed by First National. Directed by William Beaudine. From *'01d Fathers and Young Sons" by Booth Tarkington. Adaptation and dialogue by Hope Loring. Release date and length not set. THE CAST Bill Emory Leon Janney Wm, Emory Lewis Stone Ruth Emory Irene Rich Dr. Franklin John Halliday Junior Pettis Mickey Bennett Vestibule Thompson Robert Dandridge His Father George Reed Dinah Gertrude Howard Mrs. Stewart Bertha Mann Chauffeur Grover Liggon Scotland Yard (Fox) Good Audience Thriller (Revicived by BUI Crouch) A CROOK melodrama in which Edmund Lowe plays a dual role, with the war, plastic surgery and plenty of love interest thrown in for good measure. That's the formula for "Scotland Yard." This talker rises above the ordinary by dint of intelligent handling and playing. Whatever holes in plausibility appear in its plot are glossed over by the elements of mystery and suspense. It's audience stuff. Dakin Barrolles (Edmund Lowe) in attempting to elude Scotland Yard detectives swims to the houseboat of Sir John Lasher (also Lowe). Sir John and his bride, Xandra (Joan Bennett), are forced at the point of a gun to shield the fugitive thief. Barrolles is attracted by Xandra and when he leaves the following morning he takes a locket containing her picture. His safety from Scotland Yard is shortlived, however. Traced to his hiding place, he is forced to join the army in order to escape. In France, Barrolles is badly wounded. He is taken to the hospital and there a plastic surgeon undertakes to restore his mutilated features. As a model, the doctor takes the photograph of Sir John Lasher contained in the locket with Xandra's picture. Sir John has been reported missing in action. The presence in the hospital of Barrolles with the rebuilt face of Lasher brings the dead back to life. Xandra is notified and in the presence of Scotland Yard men who are still searching Barrolles, she is reunited with the man she believes her husband. Hoping for an opportunity to escape. Barrolles returns to England with his "wife."