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Dolores del Rio, as the heroine of the film, is shown, above, inside one of the dance halls in the replica of Dawson City
that was built on the Metro-Goldwyn lot.
Trail of '98"
all its original frenzy, as well as duced in the film "The Trail of '98"
Reid
boat with a dangerous list to starboard Metro-Goldwyn picture, kind hands had given the two vessels a 3^outhful coating of paint and for the duration of a week they were once more the stanch craft that sailed into the northern seas twentynine years ago. They were living their heyday over again — the Hiimbolt returning scarred and wind-tossed to San Francisco with the first news of the gold discovery— the City of Topeka setting gallantly out with the first of the gold-seekers on board.
The plot of the film, adapted from the book by Robert W. Service, is sound, and the background vivid. It's melodrama, of course, but life close to the elemental forces of nature is likely to be melodramatic. The fundamental human emotions, such as were brought to the surface by the stark hardship suffered in the Klondike gold rush, are delicate things for directors to
M;'ss del Rio and Ralph Forbes as the girl and boy of the story.
Photo by Manatt
But, for the
handle, the dividing line between the human and the ludicrous being almost invisible. In the hands of Clarence Brown, however, this film of the Klondike is becoming a human document of pitiful soldiers of fortune, with both the tragedy and glamour of high adventure hanging over them.
Mr. Brown builds his scenes on psychology rather than on action and events. A critic once observed that he was the only director in pictures who understood tempo. This may probably be explained by the fact
that what the characters of a film do concerns him much less than why they do it. Thus, the events in a Clarence Brown picture follow emotions in a logical manner, making for that elusive quality called tempo. Mr. Brown works very little with the script, keeping it only as a memorandum. The casual onlooker might say that he worked almost at random. He feels his way through the emotions of his characters toward the effect he wants.
At times, a Clarence Brown set rather reminds one of a class in psychoanalysis. When a snag is struck in the story — when the only way, for instance, to play a s^ene seems to be for the girl stoically to watch the boy leave her and then faint, and it doesn't seem real for her to do it that way — then all work is halted until the problem is solved. The company is dismissed from the set, with the exception of a few players, who join the director in his consideration of the question. In scholarly fashion, they attack the diffi