Variety (Jul 1937)

20 VARIETY FILM REVIEWS Wednesday, July 14, 1937 SARATOGA (WITH SON^GS) Glendale, Calif., July 13. Meti-o release of Bernard H. Hyman- John Emerson proauctlon. Stnru Clark Gable and Jean Harlow; features Lionel Bavi-ymore, Frank Morgan, Walter Pldse<)n. Una Merkel. Directed by Jack Conway. OrlRlnal anrt screenplay, Anita and Hobert Hopkins; score, Edward Ward; songs, Walter Donaldson, Uol) WrlRht, Chet Forrest; camera, Kay June: film editor, Elmo Veron, Previewed at Alex- ander theati-e, Glendale, Calif,. July 13, •37. Running time, 00 mine. Carol Clayton...*..., Jean Harlow DuUe Bradley ...Clark Goble Grandpa Clayton... Lionel Barrymore Jesse Klffmcyer. F'rank Morgn n Hartley Madison Walter FIdgeon Prltzi .Una Merkel Tip. ..Cllflt Edwards Dr. Beard.,.. ,,George Zucco Frank Clayton Jonathan Hale Rosotta I... Hattle McDanlels Dixie Gordon ' Franhle D.arro Hand Biding Hurley Henry Stone . Timely a§ the latest racing extra, ^Saratoga/ a story of the thorough- breds and the men and women who follow the hotses around the circuit, is a glamorous comedy-drama that will take the track and puU box office figures way in front, This is the film which the late Jean Harlow was completing, as corStar with Clark Gable, last month. The few scenes retnaining to be made at the time of her death were photographed With an alternate in her part, and done with such skill that audiences will not easily distinguish the substitu- tion. Once before a star appeared in a posthumous film when 'Steam- boat Round the ]Qend' was released soon after Will Rogers was killed in an airplane accident. In that in- stance, however, the picture had been entirely photographed prior to Rogers' untimely de^tfa. The unique circumstances attached to the completion of 'Saratoga' Will enhance public interest in the^ widely 'known, and unquestionably fine, picture. , Anita Loos and Robert Hopkins, who collabo-^ited on 'San Francisco,' have, caught a popular theme in 'Saratoga,' and Mve gone bebind the scenes at: racetracks and breeding farms to tell a story of human in- terest. Gable characterizes a book- maker in a bteezyi horsey manner. He speaks the language of the pad- dock and the betting ring, and his interests and Cdnceptions of life and the world at large are confined to the mile ovals. Miss Harlow is the daughter in a family which, has bred and raced horses for generations. Father and grandfather have been trainers aiid speculators on the tracks of many cities. Last of her sporting line, she is brought up to a social life in the hope she will not become a 'racing gypsy,' a person who travels the northern fracks in summer and the Florida meetings in the winter. The pull of the sport proves too strong, however, and she takes her small in- heritance and wagers on the horses She is prompted to this in an effort to win enough to repurchase the fam- ily breeding fai-m from Gable, wbo holds the mortgage to cover losses incurred by her father. Plot of the film permits introduc- tion of numerous familiar racing customs, of which the most inter- esting is the annual auction of year- lings at thfe Saratoga summer meet- ing. Shorter episodes of actual rac- ing at Tropical Park,. Miami, and at Churchill Downs, Louisville, on . Derby day, are incorporated. Liberal dramatic license has been taken by the director, Jack Conway, in the photographing of a- near dead heat by slow motion" camera. The finish, which is as mystifying to the audience as to the film's characters, is.reshown and the winner identifle'd. , Miss llarlow's lierformance is among her best, in years. She has several rowdy comedy passages with Gable which are excellently done. The entire cast is of marquee rat- ing, and the performances of Lionel Barrymore, as the grandfather; Una Merkel, an itinerant follower of the houses, and Frank Morgan, as a turf neophyte, are splendid. Conway changes his scenes and tempo with speed and the picture is paced so that repetition never be- comes tiresome. 'Saratoga* is one on which exhib- itors everywhere, can sell as a win- ning ticket without taking any chances. Flin. without setting any httx office on fire. Picture has plenty of action and star appeal. Film is not a standout because Frances Marion's screenplay, for one thing, has lost a great deal of James Hilton's characterization in the orig- inal novel and dispensed almost en- tirely with the economic and physi- cal-privation angles leading up to the Revolution. Result is that only those familiar with the prerl917 Russia will understand what the shootin's all about. The butchery also begins to reach senseless pro- portions by the time the film is half unreeled. First the Reds line up a string of Whites against a wall and machine-gun them down. .Then the White Russians line up a flock of peasants for the same treatment Story reveals Donat as a young British secret service agent who . be- comes a Red to achieve his purpose. He's sent to Siberia just before the outbreak of the World War and re- turns after the Revolution as an assistant commissar. He rescues Miss Dietrich, a countess, from exticution. The portrayal of their escape from both the White, and Red armies is the inevitable chase. They're in and out of traps so often that the action begins to take on the aspect of one of the old serials. Film ends on the easiest escape of all. Performances on the whole' are good, though Miss Dietrich restricts tierself to lust looking glamorous in any setting or costume. Donat handles himself with restraint and capability. There's only , one other important cast assignment, John Clements as a hyper-sensitive com- missar, who, enthralled by Miss Dietrich, makes the couple's final es- cape- easy -by committing suicide. This item by Clements is a plenty forte job. Production looks expensive, though a « couple of process shots a^e too obvious. Direction of Jacques Fey- der is fair enough. At least it moves. Scho. TOAST OF NEW YORK Hollywood, July 13. RKO-RadIo release of Edwarl Squall pro- duction. X>ii-ected by Rowland V. Lee. Story from 'Book of Daniel Drew,' by Bouck White, and 'Robber Barons,' by Matthew Josephson;' screenplay by Dudley Nichols, John Twist and Joel Sayre, Mus- ical director, Nathaniel Shllkret; camera, Peverell Marley;* special effects by Vernon L. Walker; film editors, George' Hively ani Samuel Beetley.' Previewed at Pantages, Hollywood, July 8, '37. Running time.. D'i mini. Jim Flsk Edward Arnold Nick Boyd, Cary Grant Josle Mansfield Frances Farmer Luke ; Jack Oakle Daniel Drew Donald Meek Fleurlque Thelma Le«ds Vanderbllt Clarence Kolb Pfiotographer Billy Gilbert Broker..' George Irving Lawyers., S Frank M. Thomas {Russell Hicks Wallack Oscar Apfel Collins Dudley Clements President of Board.... Lionel Belmore Bellhop .Robert McClung .Tanltor » ....Robert Dudley Beef Diooley Dewey Robinson Top Sergeant. .Stanley Fields Major Gq.vln Gordon Mary Lou Joyce Compton Virginia Lee Virginia Carroll Miniature Reviews 'Sar^e»* (M-G). Postumous Jean Harlow starrer, with iDlark Gable opposite.- Svureflre box- office and tastefully pr<>duced. 'Knlffht Wltbottt Arm«r* <UA>. British production about the Russian revolution. Has Marlene Dietrich, Robert Donat and action. Fair enough. 'The Toast «t New Tork* (RKO). Rollicking comedy , of New York in the 80's when Jim Fisk was trimming the boys in Wall St. Good entertainment which will get money. 'Super Slentb' (RKO). Jack Oakie m amusing crime mys- ' tery story, most scenes of which are laid in a picture stu- dio. Plenty of laughs. 'Great Gsmbinl' (Par). Light- weight routine murder mystery with Akim TamirofE topping cast 'She Had to Eat' (2(|th)— N<c thing to recommend this one, even , for the short end of the duals. •Fly-Away Baby' (WB)^ Swift-moving reporter-sleuth comedy mellcr in Torchy Blahe series patterned after Dorothy- Kiigadlen air flight Glenda Farrell tops strong cast distinctly. Edgar Kennedy and Alan Bruce complete the list of principals. Although the picture lacks big names, outside of Oakie, it will draw by word-of-mouth comment, and can be booked and exploited with confi- dence. Flin. TOPPER Hollywood, July 13. Metro release' of Hat Roach pi<oduction:- Associate producer. Milton H. Br«n. Stars Constance Bennett, Gary Grant and Roland Young. Directed by Norman Z. McLeod. Kr<»m a story by Thome Smith. Screenplay by Jack Jevne, Eric Ha.tch and Ekldle Moran. Camera, N.orbert Brodlne. Film editor, William Terhune, Musical score by Arthur Norton, conducted by Marvin Hatley, Photographic effects by My Seawrlght. Previewed n{ Gruuman's Chinese Theatre. Holly woodi July 7, '37. Running time, 1)8 mine. Marlon Kerby Constance Bennett George Kerby ,. .Cnry <Sraiit Cosmo Topper .........Roland TounK Mr.i. Topper BlUte Burk« WUklns Alan Mowbray Casey ,..., Eugene Pallette Elevator Boy '. Arthur Lake Mrs. Stuyvesant Hedda Hopper Miss Johnson Virginia Sale Hotel Manager .Theodore Von Eltz Policeman iJ, Farrell McDonald Secretary ' Elaine Shepard Rustics ....^....DoodJeH Weaver. .SI Jenka 'Three Hits and a Miss" Themselves in which the incidents are comically revealed, Fisk-also is portrayed as a generous suitor, friend and protestor of the actress, Josie Mansfield, and backer of her musical production at Wallack's theatre. On the -opening night he appears before the curtain with hi& young star and is reviled and threatened by his enemies. Sub- sequently, when warrants for his ar- rest are issued, he escapes' to New Jersey, behind an armed bodygqard. Picture ends with , his assiassination, which clears the way for the girl friend and Boyd (Cary Grant) to fall 'into each other's arms. Arnold plays Fisk in an expansive, light-hearted sort of way. He is both cruel and kindly. Jack Oakie is in there strictly for laughs and gets plenty. A sequence in which he drills. the body-guard is highly hUaridus. Miss Farmer conveys in- nocence as the love interest, having very little to do. Donald Meek clowns throughout. - ' Rowland L. Lee's direction . is straightforward and well paced. He keeps reasonable check on the slap- stick, which does not get too. wild. Production has size, if not much class. Flin. Knight Without Armor (BRITISH MADE) United Artists release of a London Film (Alexander Korda) produtliuu. fiiuin Mur- lene Dletridh, Robert Donat. Directed by Jacques Feyder, Adapted by Frances Ma- rion from novel by James Hlllon; scenario and dialog, Lajos Biro, Arthur Wlmperls. CaniOrnmnn, Harry . iStradltng,. At Radio City Aiuslc Hall, N. Y., week July 8, '37. Running time, lOo nilns. Alexandra. ,' Mnrlene Dietrich A. J,, .i.. Robert Donat Duchess ; » Irene Vanburgh VinrtlnofC. Herbert Lonina Colonel Adrajdne........Austin Trevor Axelstcln...' .BiiHll Gill Waronlo... .i .Davl I Tree Poushkoff. ^....Jbhn Clements . A labored effort to keep this pic- ture neutral ph the subject of the Russian Revolution, in the midst of round-robin slaughter,, finally com- pletely overshadows the simple love story intertwining" iRtarlene Dietrich and Robert Donat. 'Knight Without Armor' should do all'right over here Here is the life of Jim Fisk, Wall Street operator of the 80's, told in ragtime. It's absurd biography biit good entertainment despite its in- anities, exttfivagances and exaggera- tions. It is an elaborate, costly pro- duction, designed exclusively for provokhig mirth. In that respect it is successful. Making no pretense for serious consideration as a faith- ful and accurate reflection of life and manners in the period it depicts, it rates as a piece of hokum aimed at the box office. It will do business. Stock manipulations engineered by Flsk when he was one of the most daring and hated financiers in the jteckless post-Civil - War era have become traditional. Ruthless battles for corporation control during the fast commercial expansion of the country which followed the building of railroads into the west engaged the ingenuity of dominant bankers and speculative groups. Fisk was a powerful figure in a colorful setting. Recent years have produced no one his equal at trimming the investing public. With such material from which to Weave a screenplay, drawing also from recent best sellers, 'Robber Barons' and 'Book of Daniel Drew,' Dudley Nichols, John Twist and Joel Sayre have fashioned a broad bur- lesque. Edward Arnold takes the principal role of Fisk, and other leaders in the cast are Frances Farmer, as his actress-protege, Josie Mansfield; Cary Grant, and Jack Oakie, as his business partners; Don- ald Meek, as Daniel Drew, and Clar- ence Kolb, as the senior Cornelius Vanderbilt, who is portrayed as the friend of the oppressed and Fisk's nemesis. The list contains marquee names. No theatre will be at a loss for advertising ijiirnmunition. Fisk and his stooges, Boyd and Luke, are introduced as medicine show fakers in the South just before the start of the Civil War. When hos- tilities commence, the trio engage in unlawful smuggling of raw cotton across the frontier for New Eng- land mills. They make a fortune, which is soon lost and won -again in the purchase and sale of steamships. Thereafter, on the floor of the New York stock exchange, Fisk devises various schemes which culminate in a struggle with Vanderbilt for con- trol of the Erie railroad. Again these financial backgrounds. SUPER SLEUTH Hollywood, July 13. RKO-RadIo .relea^se of Edward Small pro' ducllon. Featui'es Jack Oakle, Ann Soth- ern.' Directed by Ben Stoloff. From a play by Harry Segall, screenplay by Gertrude Purcell and Ernest Pagano. Camera, Jor seph H. August; .special effects, Vernon L. Walker: film editor, William Hamilton; asst. director, Kenny Holmes. Previewed at'RKO Hill >St. theatre. L. A., July 9, *37. Runnlns time, 75 hiloB. Bin Martin Jack Oakie Mary Stt«nd.. ,...Ann Sotbern Professor Horman Eduardo Clannelli Larry Frank, Alan Bruce Lt. Garrison Edgar Kennedy Doris Dunne.' Joan Woodbury Ralph Waring Bradley Page Gibbons Paul Oullfoyle Warts Willie Best Beckett ....., William Corson Ekldle 1 Alec Craig Barker Richard Lane Motorcycle Cop Paul Hurst Policeman Georg* Rosener Jailer Fred .Kelsey Casey ....Robert E. O'iT^onnor Sullivan PhlllT) Morris Grimes ...Dick Rush THE GREAT GAMBINI Paramount release of B. P. .Sohulbere production. Features Aklm Tamlrod, Mar> Un Marsta. j:olia Trent, G«n«vleve Tobln Reginald Denny, William Demareet, Dil reeled hy Charles Vidor. Story, Frederick Jackson; Adaptation, Jackson, Frank Par> tos and Howard Irving- Toung; film e4lltcr. Robert BlBChoS: camerti, I/eon Shammy. At Criterion, N. T., week July V), '37. Runnln? time, 70 mins, Gamblnl...... ....\klm TamlrofC Grant Naylor ..John Trent Ann Randall... , Marian Marsh Mrs. RandaU ' ....Genevieve Tobln Mr. Randall...... Reginald Denny Klrby , William DemareHt Buckle.,...,..,... Edward Bcophy I'VibA. ..Lya Lys Lamb.. ...Allen Birmingham iltephen Danby .Roland -Drew Bartender. Ralph Petei-a .. Jack Oakie gives a fine comedy periormance in this one and the film, which is excellently written and directed, will please everywhere. Title properly characterizes the tyne of picture, but does not convey its real value. Better than average en- tertainment and a real laugh pro- voker. Most of the scenes are taken in a Hpllywood picture studio, where in- side working details 'are interest- ingly photographed.: A location unit of sound trucks and camera, cars is used also in the action. . . Oakie is a popular screen hero of detective and whodunit stories. He is so good at solving fllm> mysteries that he takes it unon himself to graduate into real-life sleuthing in competition with the police depart- ment. He is soon the central figure in a murderous blackmail scheme. The antics of "the egotistical star when he discovers that the criminal plot is aimed' against himself com- prise an excellent opportunity for Oakie's brand of clowning. He does not overplay, but wins- a good deal of syiripathy. . Ben Stoloff directs at a rapid pace and keeps melodramatic suspense and comedy situations building rap- idly to a hokey and hilarious. finale. Supporting players are all good. Ann Sothern adds another good per- formance' to her recent screenings. She plays a straight role here as the studio publicity head, whose job is to .trail Oakie and Ret him back io picture making. Eduardo Ciannelli is a sinister and convincing menace. A hit bit is done by Willie Best, colored actor, as th^ star's dresser and valet, who spesfts comedy lines Technical ease with which the mo- tion pictures can make char- acters instantaneously appear and disappear from the screen, always has-tempted producers and screen- writers to delve, sometimes seri- ously, sometimes humorously, into itories which invade the field of the pi.ritualistic and occult Of such were - 'Edrthbound,' 'directed' by T. Hayes Hunter; 'One Glorious Day,' by Jam.es .Cruze (both silents), and two recent sound films, Noel Coward in 'The Scoundrel,' by Ben Hecht and Charles MacArthur and Robert Donat in 'The Ghost Goes West,' pro- duced by Alexander Korda. Now comes Hal Roach, heretofore, identified with, obvious- action comedy and, with , the assistance-of Norman McLeod, as director, he has produced as- weird and baffling a tale of spiritualism, as the screen- ever has seen. It is entitled 'Topper,' from a story by the late Thome Sniith. It is carefully made, ex- cellently, photographed, and adroitly eniploys mechanical illusions of cinematic . composition and trick sound effects. How substantial the fan support will be-in terms of boxoffice dollars is difficult to anticipate. None ot the other films of similar theme aroused more than mild enthusiasm among a small group who patronize the arty theatres and talk about pic- tures in terms of art expression. The rank and file of theatregoers will experience difficulty in following strange and surprising twists of. the story, and are not likely to distin- guish easily the passages of realism froih the sequences of unreality. Story is about the adventures, among living persons, of a young married couple, George and Marion Kerby, who are killed in an automo- bile smashup as the climax of a wild night of ib>inking and carousing. Their astral bodies rise from the ruins, and their conversation con- tinues in a casual manner as to their next objective. They agree that until they have done some one a good deed they are likely to remain in- definitely in a state of double ex- posure. Reviewing the possibilities for ' charitable action, they decide that their friend, Cosmo Topper, a hen-pecked bank presi(?-:nt, who has lived a dull, routine life, shall have the benefit of their assistance. Same carefree, flippant viewpoint on life which characterized the couple before their death maintains throughout the subsequent series of farcical events. Possessed with un- usual power, they are able at will to- appear in the flesh, converse and move about among their friends. Oc- casionally, they make known their presence by spoken words only. All the corhedy and playfulness of their adventures results from these at- tributes. . They engage, both visibly and unseen, in street brawls, as drivers of speeding automobiles, as frightening spectres in hotel lobbies and restaurants. Effort to excuse the story's absurd- ities on the theory that the intent is farce comedy does not entirely ex- cuse the production from severe re- buke. Fact also that the living dead always are facetious may be-shock- ing to sensibilities. Some of the situ- ations and dialog offend conventional good taste. Performances, however, are usually good. Cary Grant and Con- stance Bennett, as the reincarnated Kerrys,, do their assignments with great skill. Roland Young carties the brunt of the story and does it well. In the title role, he is the docile, good citizen until the trans- formation of his personality changes him into a dashing man about town. Billie Burke plays the less important role of Mrs. Topper with effect. Both Alan Mowbray, as the Toppers' but- ler, and Eugene Pallette, as a hotel detective, are splendid. Arthur Lake gets a lot of fun from a small role as an elevator boy. 'Topper' will be talked about both in and outside the industry. The skill with which camera and sound effects have been accomplished sets a standard for mechanical excel- lence. Settings are. elaborate. But whether word of mouth advertising will be sufficient to Overcome the obstacles which this type of story always combats is questionable. Probably not Flin, 'The Great Gambini' represents an obvious effort to fit Akim Tamiroff to suitable film materiaL As such the munler mystery under this title suc- ceeds, but story, production'^ action, pierformances and comedy fail to blend for enough punch to produce better than ordinary entertainment. There js nothing unique about this piece of detective fiction except that the murderer is a suave mindreader who helps solve the mystery. Tamiroff plays the fawning clair- voyant, but it s not a strong part for'him, nor will it impress. It's slow and deliberate, frequently mak- ing him a tiresome character. This is . especially true through the stretches, where he Is assumedly playing, detective only to find that his efforts result in his own capture. Mpre tt^spme than Tamirpff, how- eyer,', is <?enevieve Tobin's 4:hatter-j ii)g .matron role, always putting, her foot ihto -it. when she opens her n^outh<..... . , ■,. ., ■ ,.. ■Other.members'of -the cast are also left in a somewhat helpless slate by the story or direction, or.both, in- cluding John Trent, the former aviator now imder contract to B.-P. Schulberg. He shows flashes of fine dramatic ability, but this story was not the one to giye him proper scope for what talents he may possess. Marian Marsh is opposite him on the romantic assignment She. ■ too,, is poorly equipped, while Reginald Denny, doing her father, is badly handicapped. One of the best char^ acters is that of the detective ser^ geant, which gives William Demarest better opportunities than the others hayie. He-seUs it well and, aided, by Edwarfl Brophy, manages some light comedy. Initial sequence is laid in the night club, where the Great Gambini is an attraction which rates a terrific ova- tion, but on a vaude bUl at Loew's State might not be so hot Shifted into this setting are most of the principals, including the. victim of murder later that night, plus Trent. The start could be faster and tighter. Poor cutting here, as well as in police grilling sequences, had much to do with slowness of mystery on the whole. Char. MIDNIGHT MENACE (BRITISH MADE) London, July 2. Grosvenor Sound Films productUm ahfl Associated British Film DIslrlbutorK re- lease. Stars Charles Farrell, Fritz Koi Iner. Directed by Sinclair Hill. Adaptation G. H. Moresby-White: original, Roxer Mac^ Doueall. Alexander MacKendrick; camera. Cyril Bristow, Paul Barralet. At Cam- brldire, London, July 1, '37. Running time 73 jnins. n._^ Brian Gaunt.... ChnrlWTTiTrell- Peters. : Fr^z Korlner Mary Stevens... Marstret Vyntr Socks Dannv Gvem Smith ' Walla<'e Kveriett Pierre Monte de Lyle Tony.., ..Dlno Galvanl Vronsky Dennis Val Norton Fearns Terence O'Brlca Mac , Alrfhu'r Flhh Sir George ■.. .T^awrenoe Ha-nray Zadek Andrea Malamlrinon Pre.Hdent Beyner Fiirton Kleisch Arthur Gomer Banks -. -.,.. vtttlf OBray Marsh Evan .lohn Harris Rayiriond J.ov«>ll Groves Victor Tnndy Graham Stevens Sydney King A man's picture. May not attract the femmes, but if once inside, like- ly they'll be entertained. Should make good anywhere, despite the negligible love interest. Story develops into tense drama in an unostentatious and natural way, with a sense of quiet reality in the .handling of situations which could easily have been over-dramatized. Ring of armament bosses tr.y to stimulate business by gumming up a disarmament conference in London. They plan an air raid over the city by pilotless planes, disguised with British markings. Television and wireless control plant is beneath a paper shop in Soho, where gather foreign thugs outlawed from their own countries, and for this reason held in complete iiUb.iecUon by ^Iheir leader. -*He is a vindictive conti- nental posing as Mr. Peters, an em- issary of peace from a European state, and the star turn of the con- ference. While pfetendin'g to placate two fiery neighbors/he is secretly in- flaming; their governments by subtle sueeestion. - That's the premise for much ado. Charles Farrell gives a lukewarjjn portra.val as a newspaperman; Mar- garet Vy-ner is rather colorless in a thankless, kissless romance,, but. for the rest of the cast there is nothing but praise. ^ . Picture belongs to Fritz Kortner in a role that Peter Lorre or Conr rad "Veidt might have essayed, but could hot have improved upon^ ^ . It is the quiet effective handling of the plot which is its chief merit, rather than the.story itself.