Motion Picture News (Oct-Dec 1930)

72 Motion Picture News October 25, 1930 Opinions on Pictures Illicit (Warners) Fine Box-Office {Reviewed by Jack Grant) WHATEVER way you look at it, "Illicit" is a box-office natural for any house. Falling under the general classification of "problem drama," it is, of course, adult fare and will appeal nearly equally to men and women patrons. It is an intelligently interesting question with which "Illicit" deals — whether a couple very much in love can live more happily out of wedlock than they can if married. The fact that the question remains unanswered does not lessen its interest. Few problem plays can stand retrospective analysis of plot motivation. Fewer audiences attempt to analyze what they accept as entertainment. Barbara Stanwyck and James Rennie are in love and genuinely happy in each other's company. Rennie is a frequent visitor at Barbara's apartment, for her morals are as modern as her ideas concerning marriage. Barbara has seen too much of the unhappiness marital ties bring — her own father and mother being an example. Rennie, however, believes in the institution, though he allows Barbara her way. They are seen on a week-end trip by a member of their set and scandalous gossip starts. Rennie's father, Claude Gillingwater, joins his son in urging marriage. Under their combined arguments, Barbara finally assents. A matter of several years pass and we find Rennie has become the typical bored husband. The romance of his association with Barbara has vanished and he seeks instead the company of the dashing Natalie Moorhead. His wife is hurt by his lack of attention and when he stays out until 4 A. M., capping the act by lying about it, she insists on leaving him to go back to her own apartment. There Rennie calls upon her, becoming again the romantic lover. The glamour of their socalled "illicit" relationship returns. Their happiness is interrupted by Rennie's jealous behavior when he encounters Ricardo Cortez in Barbara's apartment. He tells her he will never call again. The following day Natalie Moorhead drops in to warn Barbara she is going to lose her husband. Natalie believes it a sporting proposition to issue such warning and thereby let the wife hold her man if she can. When Natalie departs after a stormy scene Barbara phones Rennie and is told he has already left for the boat to Bermuda. For all her modern ideas, Barbara is indulging in a good old-fashioned cry when Cortez phones a few moments later. She assumes indifference at the news of her husband's elopement and between sobs is bantering with Cortez as Rennie walks in. At the sight of him, Barbara is in his arms and Rennie explains his change of heart on the eve of sailing. We fadeout on the telephone receiver lying on the floor as the voice of Cortez is heard shouting "Hello— hello." The performances of the principals are uniformly excellent. Barbara Stanwyck heightens the fine impression she made in "Ladies of Leisure." In "Illicit" she has several splendid opportunities to prove her worth as a dramatic actress and admirably rises to them all. Particularly good is her final emotional scene at the telephone. Natalie Moorhead likewise adds considerably to her screen reputation. She is fast becoming our most charming charmer. James Rennie contributes his smoothest work in talkers, obviously being more at home in a drawing room than he is as a western hero. Ricardo Cortez makes the most of his limited role as the other man. The comedy is in the capable hands of Charles Butterworth playing a drunk. He wanders in and out of the action, garnering laughs whenever things get a bit heavy. Claude Gillingwater drops his usual grouch portrayal and does excellently the sympathetic father assignment. "Illicit," from all angles, stands as one of the best talkers of its type ever made by Warners. Report had it that the studio was going to forego previewing the picture, so sure was it of the quality of the product. And it's there as the jingle of coins at the box-office should prove. Can stand heavy support in comedy shorts. Produced and distributed by Warners. From the play by same name by Edith Fitzgerald and Robert Riskin. Directed by Archie Mayo. Adaptation and dialogue by Harvey Thew. Edited by Bill Holmes. Photographed by Robert Kurrle. Length, not set. Release date, Feb. 7, 1931. THE CAST Anne Barbara Stanwyck Dick Ives James Rennie Price Baines Ricardo Cortez Margie Natalie Moorhead Georgie Charles Butterworth Dukie Joan Blondell Ives, Senior Claude Gillingwater The Lady of the Lake (James A. FitzPatrick — Synchronised) Hard to Peg (Revieived by Charles F. Hy'nes) IT'S difficult to dope this one from the boxoffice slant. It's a well done and sincere portrayal of Sir Walter Scott's classical poem, enacted by a fine cast. Just how well it succeeds at the box-office depends on how willing the public is to go for a fine document of this kind. It may be that it's selling angle is to class audiences, with strong shorts surrounding it to put it over. On the other hand, it may require another feature, the difficulty in pegging it being due to the fact that nothing like it ever has been done before. The picture has no dialogue, lines from the poem being used for the subtitles. It would have been almost sacrilegious to have tried to have spoken Scott's lines, for spoken they would have produced a flowery effect, which would have amounted almost to burlesque. As subtitles, however, they register well. The lack of dialogue in this is a welcome relief. Talkers to date have been so gabby that drastic reductions in dialogue are to be made. The changing cycle which is to result in less dialogue may help this picture. Lovers of literature and children will find this to their liking. Its direct and simple treatment enhances the charm of the idyllic story, and this simplicity makes it very easy for children to understand. Exceptionally fine photography characterizes the production. Benita Hume, in the title role, dominates the production. She is a beautiful heroine of real ability. Percy Marmont is the only name, so far as American draw is concerned, and he gives a fine performance. The others in the cast are adequate, but not exceptional. A lost nobleman accepts the hospitality of Ellen Douglas, the lady of the lake, who takes her to the island fastness where her father is hiding with other exiles in a colony headed by the power f ul outlaw, Rhoderick Dhu. When Dhu's men take the knight prisoner, the girl rescues him, and he in turn presents her with a ring, which he says the king will recognize to grant her any wish in return for her service. The outlaw leader tries to force the girl's father to consent to their wedding, and her fiance objects, only to be banished from the colony. When the fiance is captured by the king's men, the girl's father offers io give him self up if the youth *is released, but the king's men decide to execute both. The girl then goes to the palace to claim the favor of the ring, and when it develops that the knight she befriended is the king, her fiance and her father are released. This is characterized by good direction by FitzPatrick, and althought the tempo is slow, it is in keeping with the story. It was produced in Scotland, the locale of the poem. Needs strong support. Produced, distributed, adapted and directed by James A. FitzPatrick. From the poem by Sir Walter Scott. Photographed by Bert S. Dawley. Length, 4,749 feet. Running time, 50 minutes. Release date, Nov. 1. THE CAST James Fit z James Percy Marmont The Lady of the Lake Benita Hume Roderick Dhu Lawson Butt Lord Moray James Carewe Malcolm Graeme Haddon Mason Margaret Hedda Bartlett Allan Bayne Leo Dry den Blanche of Devon Sara Francis Douglas James Douglas Queen of Scandal (United Artists) Good Musical Show (Reviewed by Dick Crenshaw) WITH music and romance as the keynote of this production, "Queen of Scandal,'' is scheduled for success through its notable cast, if for nothing else. Evelyn Laye, recruited from the musical comedy stage, brings a rich and beautiful voice to the screen, while John Boles will attract through his former successes. It should do good business, provided musicals still draw with your gang. The production got a big hand at its first showing. It is light in theme, but has enough romance to make it a good story. Leon Errol, as the comedian, proved a hit and kept the audience laughing during his scenes. The locale is Continental, although the exact setting is not identified. Unusual costuming and old-world scenery give a romantic air to the film, which is rather far-fetched in some of the plot unravelings. The story deals with a poor girl and her desire to have the things that are showered on her idol, a musical comedy star notorious for her wild escapades. Through an incident with the police the stage beauty is requested to leave the city for a country villa. She gives her admiring friend a chance to take her place as the pampered exile. Miss Laye goes to the country and meets John Boles, a neighboring count, who has been placed in charge of the stage beauty. The count treats her as he would expect a frivolous woman of the world would want to be treated. Complications follow. Most of the love scenes are carried by music, the words of Boles and Miss Laye proving to be well adapted for the parts. When the real actress is found out and brought under police escort to the village, Miss Laye is sent back to the city and Boles follows to tell of his love. Travel film and good comedy zvould balance the program*. Produced by Samuel Goldwyn. Distributed by United Artists. Story an original by Louis Bromfield. Directed by George Fitzmaurice. Adapted by Sidney Howard. Scenario by Sidney Howard. Dialogue by Louis Bromfield and Sidney Howard. Music by Herb Nacio Brown, Edward Eliscu and Bruno Granichstaedten. Lyrics by Clifford Grey. Edited by Stuart Heisler. Photographed by George Barnes and Gregg Toland. Length, not set. Release date, about Jan. 10, 1931. THE CAST Lilli Evelyn Laye Mirko John Boles Otto Leon Errol Fritzi Lilyan Tashman Janos Hugh Cameron Liska Marian Lord Zacow Lionel Belmore Papa Lorenc George Bickel Egon Vincent Barnett Almady Henry Victor