Talking Screen (Sep-Oct 1930)

TO GIVE YOU A LINE OR SO ON CURRENT TALKIE OFFERINGS ALIAS FRENCH GERTIE (RKO) — A crook story which has as its main interest the fact that the newlyweds, Bebe Danies and Ben Lyon, are playing in the same film. ALL QUIET ON THE WESTERN FRONT— (Universal) — An amazing picturization of the well known unpleasantness of some years ago. It will give you a shock, but don't fail to see it. ANIMAL CRACKERS (Paramount) — The famous quartette of Marx Brothers again do a swell job. Don't miss it. ANNA CHRISTIE (M,G-M)—U you have not seen this famous film by this time, hie yourself to the nearest movie where it*s playing. ANYBODY^S WAR (Paramouni) — The Two Black Crows are squawking again — this time in the garb of the A. E. F. A good comedy. ANYBODY'S WOMAN ( Paramount )— Reviewed in this issue. THE BAD MAN (First National) — Reviewed in this issue. THE BAD ONE (United Artists)— Dolores Del Rio does a good job of vamping Edmund Lowe in this thrilling tale of the Marseilles water front. BIG BOY (Warner) — Reviewed in this^issue. THE BIG HOUSE (M-G-M) — A thrillin story of jail life, with, of course, the inevitable iail break. But it is done very well and holds the interest. Wallace Beery as Butch is particularly good, THE BIG POND ( Paramount)— Here is zat French gar^on. Chevalier, again. No need to tell you girls to go to see it. BILLY THE KID ( M ~G M ) -Reviewed in this issue. THE BRIDE OF THE REGIMENT (First National)— There's everything in this but a really good story. Ford Sterling, Louise Fazenda, and Lupino Lane iniect some excellent comedy, and the Technicolor is marvelous. BRIGHTS LIGHTS (First National) — Dorothy Mackaill and Frank Fay in another one of those back-stage stories. It's better than most, however. CAUGHT SHORT (M-G-M) — Those two deUeihtful people, Marie Dressier and Polly Moran, put this over in a perfectly wow manner. Don^t fail to see it if you enjoy laughing. COMMON CLAY Cfo*;— The old, old story of the girl, the boy, and the cheeild — but it's done in such a way as to be really touching. Don't fail to see it. CONSPIRACY (RKO) — A tale of oanog and gangsters with Bessie Love doing her best to avenge the murder of her poor father. She does good work. COURAGE (Warner Brothers) — The mother role is here again with Belle Bennett treading its well worn paths with her accustomed confidence. You had better see it. DANCING SWEETIES (Warner Brother< )—\n. other dance hall story with Grant Withers and Sue Carol playins* the leading characters who hop to it naturally. DANGER LIGHTS (RKO) — Reviewed in this issue. THE DAWN PATROL (First National) — A thrilling air story of the Royal Air Forces during the Great War, with evervthing in i* brt the British accents one would naturally expect. However, Richard Barthelmess and Douglas Fairbanks. Tr., do such "nod work that one can overlook the other little inconsistencies. THE DEVIL'S HOLIDAY (Paramount) — Nancy Carroll bursts forth in a really thrillin" role, knocking us for a couole of loops and then some. This lifle ladv really can act a»^d so. also, can Phillips Holmes, in spite of his being so handsome. DISRAELI (Warner Brothers) — Although thi«i picture is quite old, we put i' on our list to be snre that you see it. George Arlias will thrill you. BRIEF GUIDE The Ten Best and Why ANNA CHRISTIE, for Greta Garbo — her voice and her dramatic power. DISRAELI, for George Arliss and its authentic atmosphere. THE DIVORCEE, for Norma Shearer. SO THIS IS LONDON, for the wit which is Will Rogers'. ALL QUIET ON THE WESTERN FRONT, for its amazing horror. THE CUCKOOS, for Robert Woolsey and Bert Wheeler. JOURNEY'S END, for its quiet drama. THE DAWN PATROL, for Richard Barthelmess, Douglas Fairbanks, Jr., and the air scenes. GRUMPY, for Cyril Maude. HELL'S ANGELS, for the Zeppeline sequence. THE DIVORCEE (M-G-M) — Norma Shearer, in this story unofficially taken trom Ex-Wife positively does the best work oi her long and varied career. This is one picture you simply must see. DIXIANA (RKO) — Reviewed in this issue. DOUGHBOYS (M-G-M) — Reviewed in this issue. DUMBBELLS IN ERMINE (Warner Brothers) — James Gleason and Robert Armstrong in a good comedy with plenty of slang. EYES OF THE WORLD (United Artists) — Harold Bell Wright is once more represented on the screen in this story which is typical of him. We needn*t say any more. THE FLORODORA GIRL (M-G-M) — Get ready for a good laugh when you see this one of Marion Davies in those quaint bustles and what-nots of the period knowa as the Mauve Decade. FOLLOW THRU (Paramount) — Reviewed in this issue. FOR THE DEFENSE (Paramount) — William \^ Powell and Kay Francis in a charming story of a lawyer, the woman he loved, and the sacrifices they made for each other. FREE AND EASY (M-G-M) — Buster Keaton's first talkie which concerns the movie lots of Hollywood. It*s funny — it could be a little more so. GOLDEN DAWN (Warner Brothers) — A lavish spectacle based on an operetta of the same name which is quite famous in stage circles. Vivienne Segal does an excellent job. GOOD INTENTIONS rfoxj— Edmund Lowe is in the underworld again, this time as a gangster who falls in love with the girl in hi' s'ciety and so decides to give it all up. This one is fair entertaitmient. GOOD NEWS (M-G-M)— The famous musical comedy, like many another, returns to ua via the talking screen. Excellent chorus work makes this an unsually attractive talkie-singie. GRUMPY (Paramount) — Reviewed in this issue. HELL'S ANGELS (Caddo)— the famous multimillion dollar production arrives at last with a bang — in fact several bangs. If you like thrilling air stories, do see this one. The Zeppelin sequences are breath-taking. HELL'S ISLAND (Columbia) — One of them there Foreign Legion yarns with Jack Holt and Ralph Graves pulling some excellent rough stuff. HER MAN (Paihe) — Reviewed in this issue. HOLD EVERYTHING (Warner Brother,)— A swell musical comedy with Joe E. Brown playmg the part of a two-fisted prize fighter who gets roped in plenty. Winnie Lightner also pulls some good gags and, beUcve ua, that lady knows how a gag should be pulled. Better not miss it. HOLIDAY (Pathe) — Here's the well known stage play in talkie form with Ann Harding, ' Mary Astor and Edward Everett Horton doing excellent work. The story is a trifle slow, but the dialogue is clever. JOURNEY'S END (Tiffany)— An interesting psychological story of what happens when an assorted collection of men get in the firing D L .-" " '* se' ""ed to the ontish lingo. JUNO AND THE PAYCOCK (Harold Auten) — c . P'^>' England with an hnghsh-Insh cast. Strangely enough they all work together very well, turning out an excellent reproduction of Sean O'Casey's play. LADIES MUST PLAY (Columb.a)—A story of a Wall Street broker who goes broke and his stenographer who goes to Newport to catch a nch man. It's all in fun and plenty amusing. LET US BE GAY (M-G-M)— A charming version of the famous play, with Marie Dressier a wow as the old dowager. Norma Shearer , IS excellent in the leading role and her makeup will astonish you. The rest of the cast — which is one of big names — all do wonderfully well. • LIEBE IN RING (All Art)— A German ulkie in German with Max Schmeling plaving the leading role. Strange as it seems, he plays the character of a prize fighter — now would you have believed it? Fine, if you understand German. LITTLE ACCIDENT ri/nivcrsW;— Douclas Fairbanks, Jr., Anita Page, and Zasu Pitts make this entertainment something well worth seeing. The sequence in the maternity hospital will hand you more than one laugh. LOVE AMONG THE MILLIONAIRES (Paramount)— Clara Bow sings a couple of songs and looks cute in this decidedly silly story. Mitzt Green, Skeeta Gallagher, and Stuart Erwin all do good comedy work. LOVE IN THE ROUGH (M-G-M) — Reviewed in this issue. MADAME SATAN (M-G-M) — Cecil B. DeM-lle gives us one of his famous lavish productions of the kind of society which gives masked balls on zeppelins — high society. Reginald Denny, Roland Young, and Kay Johnson scintillate. MAMBA (Tiffany) — Eleanor Boardman in a story of the jungles of South Africa and what it does to the beast in men. Very entertaining and will hold your interest. A MAN FROM WYOMING (Paramount) — This again brings to the screen a pentleman by the name of Gary Cooper, maybe you know him. Unfortunately, the story is, well — iust too much. However, his personality saves the picture. [Cotttinueii on page 98} 6