Motion Picture News (Oct-Dec 1930)

October 4, 1930 M o I i o n r i c / it r e N e w s 55 Opinions on Pictures fetched when Baxter and three companions desert the Legion in Africa to start up a government among the desert tribes. Baxter has his former sweetheart kidnaped and gives her to the men of his camp. She persuades a desert chieftain to distrust Baxter, who realizes that he lias become a despised renegade and, as a last token, gives his life to save the legionnaires from destruction when his own band attacks the fort. A good attraction for week stands and subsequent bookings. I omedy and light subjects go well on the program. uced and distributed by Fox. Directed by Victor Fleming. From the novel, "Les Renegats," bj Andre Armandy. Adaptation, continuity and dialogue bv Jules Furthman. Music and lyrics by CHB Friend and Jas. V. Monaco. Photographed by Wm. O'Connell. Length not set. Release date. Oct. THE CAST Deucalion Warner Baxter Eleanore Myrna Loy Bffachwurth Noah Beery Yologuine Gregory Gaye Biloxi George Cooper Captain Mordiconi C. Henry Gordon Sergeant-Major Olson Colin Chase The Marabout Bela Lugosi Sally Dunlap Claudia Dell Tun Paul Gregory Mr. Dunlap Hobart Bosworth Frenchie Lotti Loder Olaf Frank Hagney Sit Tight (JFarners) Surefire (Reviewed by Jack Grant) BUILT as a follow-up for "Hold Everything" and "Top Speed," this picture should have plenty of box-office draw. If its predecessors had 'em laughing, this one will make 'em roar. Again the picture belongs to the team of Joe E. Brown and Winnie Lightner. The love interest of Claudia Dell and Paul Gregory is secondary, though it has some bearing on the plot motivation. Due to a falling out with his sweetheart, Gregory resigns from his business affiliations and turns professional wrestler. Winnie Lightner owns a health farm and there Gregory trains for a championship match. Winnie becomes his manager, though her main job seems to be keeping Brown out of the numerous difficulties in which he becomes embroiled. On the eve of the championship match Gregory is kidnaped by the father of his ex-fiancee. Faced with the necessity of stalling for time until Gregory can be found, Winnie convinces Joe he must go on in a semi-final match. The burlesque wrestling bout that ensues is unquestionably the picture's highlight. Few more hilarious sequences have ever been filmed. Meanwhile Gregory effects his escape and turns up at the psychological moment to go in the ring, thereby saving the day. If anything, a ''championship" wrestling match is better thrill material on the screen than the more familiar prize fight finale. It has been nicely staged in this release and looks mighty real. Though the result may be predetermined by any smart audience, there is no denying it packs a punch. Winnie Lightner has two song numbers in the course of the action. She sells both to good effect and otherwise acquits herself with honors. From the first flash of Brown's pan, the gang is with him. His style of comedy remains unique in films and that wrestling travesty will leave them howling. Brown and Lightner are 99 44-100 per cent of "Sit Tight," so what remains to be said? Use anything but slapstick shorts. Produced and distributed by Warners. Directed by Lloyd Bacon. Story and adaptation by Rex Taylor. Dialogue by William K. Wells. Photographed by William Rees. Length. 6.300 feet. Running time, 70 minutes. Pre-release date, Jan. 31, 1931. THE CAST Winnie Winnie Lightner Jojo the Tiger Joe E. Brown Divorce Among Friends ( Warners) Good Domestic Comedy (Reviczved by Don Ashbaugh) ROY DEL RUTH shows the hand of a good director in this sadly misnamed domestic comedy. The picture has loads of entertainment and a title which doesn't mean a thing. The story is the same as has been done on stage and screen many hundreds of times — a young husband and wife, eternally quarreling, a vamp, another man and near divorce. But Del Ruth, aided by a running fire of Arthur Ceasar's wisecracks, has made of it a clever, fast moving, lively litle picture which should satisfy almost any audience. There are no wars, gang fights, or songs in the picture. In fact, it is the plainest type of picture stuff done up in a neat package. James Hall does some of the best work he has ever exhibited as the young husband who is prone to fall for every attractive girl who crosses his path. He is one of those husbands whom the audience loves to see punished. He leaves his room in a mess, strews clothes from here to there, can never find anything and is habitually scolding his wife because of his own shortcomings. Irene Delroy is the patient wife. She handles the role capably and in a manner which wins the sympathy of both sexes viewing her troubles. Natalie Moorhead scores as the vamp who is continually causing Hall trouble with his wife by making love to him in public. Jimmy has a hard time ducking her and one wonders just why he wants to after getting a few eyeloads of the pleasant blonde. But the other three have to take a back seat to Lew Cody. The veteran really grabs first honors for his clever portrayal of the perpetually soused, squareshooting roue who is attempting to take Irene off Jimmy's hands. After every argument Lew appears and convinces Irene she really ought to leave with him. After winning her over he always talks the matter over with Jimmy. By that time the couple gain their second wind and Lew is out of luck. When he isn't busy attempting to woo Irene he plays the piano with an accompaniment of whiskey straights. The one fault with the picture is that it drags. After reaching what appears to be a wow of a finish the story drags through another family argument of almost a reel before the couple make up again — and you know they'll be arguing before you go out the front door. The studio would be wise to cut the picture with Cody's prize remark. Irene and Lew have been surprised just as they are leaving in the family limousine for a whoopee evening. They crawl into the back seat to hide and Jimmy and Natalie board the front seat and drive off. Eventually the car gets stuck in mud two feet deep and the presence of the two in the back seat is revealed, when holdup men appear. Here the married pair start their constant battle. "You go your way. I'll go mine." Irene declares as she splashes off through the mud. Jimmy follows her. Cody and Natalie look at each other. "Well, wot'Il we do not?" she asks. "I'll tell ya wash letsh do," Cody replies, "Letsh play miniature golf." It's the prize gag of the show — it would be the right place to call a halt because the audience is ready to quit right here. Newsreel and scenic short of some sort to balance. Produced and distributed by Warners. Directed by Roy Del Ruth. Story by Jack Townley. Screen adaptation and dialogue by Arthur Caesar and Harvey Thew. Photographed by Dev Jennings. Editor, Owen Marks. Length and release date not set. THE CAST Helen Morris Irene Delroy George Morris James Hall Joan Whitley Natalie Moorhead Paul Wilcox Lew Cody Tom Edward Martuidel Mail Margaret Seddon River's End (ll'arners) Fine Entertainment (Reviewed by Bill Crouch) THIS talker re-make of the James Oliver Cur wood story, "River's End," is fine screen material. It is undoubtedly one of the best of many pictures depicting the Royal Northwest Mounted Police. Charles Bickford plays the dual role of Conniston, the Mountie, and Keith, the fugitive. He creates two distinct personalities in his portrayals and his work is outstanding at all times. For once this big he-man doesn't have to play a shouting, blustering type of fellow. He is much better as the strong, personable officer who is in a tough spot, but doesn't let the situation get the best of him. Junior Coghlan, as the son, and Farrell MacDonald, as the father, are outstanding in sympathetic roles. Evelyn Knapp as the girl is a new comer to the screen and makes a most favorable impression. She will undoubtedly go far if given the right roles. Conniston, who has gone into the far North in search of Keith, who is wanted for murder — gets his man, but on the return trip dies of a frosted lung. MacDonald, Conniston's guide, takes a liking to Keith, who risked his freedom to save the lives of the two man-hunters, and suggests Keith pretend he is Conniston, as the men are physically alike even to looks. Keith agrees and, coached by MacDonald, he returns to headquarters and, although somewhat changed in manner, is thought to be Conniston. Here Keith finds he has been cleared of guilt and would be free if he could tell the true story. He meets Conniston's girl. Miss Knapp, and they fall in love, she having never loved the real Conniston. Walter McGrail, who is also fond of Miss Knapp, discovers Conniston had been married before and has a wife and two children, in England. Faced with this apparent disgrace, Keith tells Evelyn the truth and she believes him, but fears the results of what the others might think. Rather than tell the true story, Keith is flogged by the Mounties and leaves, to find Evelyn on the boat waiting for him. Michael Curtiz has directed this story in an interesting manner and, with a capable cast, has turned out a picture that will stand up in the seven-day spots and runs following. The snow scenes look a bit faked at times, but do not detract from the story. Use muiscals and good name comedies here. Produced and distributed by Warners. Directed by Michael Curtiz. Based on original by James Oliver Cur wood. Screen adaptation by Charles Kenyon. Dialogue by Charles Kenyon. Photographed bv Bob Kurrle. Edited by Ralph Holt. Lentrth. not set Release date. Nov. 8. THE CAST Keith and Conniston Charles Bickford Miriam Evalvn Knaor O'Toole J. Farrell MacDonald I,ouise Zasu Pitts Martin Walter McGrail McDowell David Torrence Mickey Junior Coghlan Shotwe'l Tom Santschi