American cinematographer (July 1937)

272 American Cinematographer • July, 1937 WHAT SAYS THE MORN? A WISE DECISION T here will be strong commenda- tion for M.G.M. because of its final decision to retain in the picture “Sara- toga” all of the work in it of the late Jean Harlow, the remaining scenes to be played by Mary Dees, for two years the late player’s stand-in. The marked interest of the general public in the work of Miss Harlow is in no way honestly to be ascribed to mor- bidity. Rather is it due to the same motive that animates a playgoer to attend the farewell performance of an old stage favorite. Here the performance, while the last work of the player, also was one in which the public never had seen her. It truly will be a farewell, even though an unconscious one on the part of the actress. The decision to in- trust the remaining appearances to Miss Dees was a logical one. It may have far-reaching consequences, too. Surely the stage is set for that even- tuality. ▼ UNIVERSAL “HAS” SOMETHING U NIVERSAL is in for a season of money getting wdth its sequel of “Western Front.” And while one di- vision of the company will be busy counting the coin that flows from the showings of “The Road Back” several other divisions at least will be entire- ly occupied trying to keep pace with the controversy that will trail along at the same time. “The Road Back” has many factors of sterling entertainment. It is stark drama to begin with, a melo- drama that grips. It is propaganda, undisguised, not even shielded by the thinnest veil. It is inflammatory, un- questionably, insofar that it will put across its message and bury it deep in the hardest-shelled skull that is permitted to get within range of a screen. It will give pause even if it does not shake the faith of believers in the necessity for and integrity of the courts. The courts are openly flout- ed; and so cleverly has the author Remarque or the script writer built the story to the point of entrance into the courtroom that lawyers will be the first to acknowledge their whole foundation is under assault. Its re- lease throughout the United States at this moment will make it no easier for By George Blaisdell the desperately fighting backers for maintenance of the Supreme Court as it is. So the picture that Universal has given us will carry a two-edged sword. One edge will cut deeply into the militaristic spirit as the Germany of old knew that evil thing. The other will cut into the court system that de- parts from the rules—and the practice —of ordinary justice. There will be plenty of influential persons in the United States who will contract hoarseness of the throat yell- ling, “Stop it!” Regardless of how badly the rulers of England may want to condemn the subject it is somewhat doubtful if they try it. What Germany and Italy and possibly Russia will do is hardly in the realm of doubt. Several things will stand out, how- ever, entirely apart from the contro- versy. It is a great story, greatly made. James Whale directed. One young man who attains a seat with the best in screen or any other acting What a Mother She Would Make While a dreamin’ and a seemin’ To be ridin’ my ole boss .A.nd a tendin’ and a mendin’ All these yearlin’s for the boss I’ve been pond’rin’ while a wand’rin’ With no special place to go Why I’m loco in the coko . . . But the answer now I know! There’s a lassie, tall and classy. With a cinch around my heart . . . And I’m hopin’ while a dopin’ How to figger out a start That this lassie, tall and classy. Sure will rope me to a stake . . . Workin’, playin’, I keep sayin’ What a mother she would make! ^ ^ ^ ^ There’s a lassie, tall and classy. Who can ride and rope and bake; There’s a lassie, dark and classy. With a calm no storm can break; There’s a lassie, lithe and classy. And I’m trailin’ in her wake . . . O this lassie, blithe and classy, What a mother she would make! Copyrig-ht 1937 by George Blaisdell ranks is John King. And he is sur- rounded by some exceptional talent. Don’t for a moment think you are letting yourself in for an hour and three-quarters of unrelieved tragedy. Tragedy there is, it is true, present in abundance. So also are there light- er moments, not diversion that is dragged in by the heels as too often happens, but developed naturally. “The Road Back” is certain to be a lively candidate for one of the best ten. But go see this great subject—and start your own fights. T ERNEST TORRENCE, ACTOR A t the JUNE meeting of the Los Angeles 8mm Club routine busi- ness was shooed aside that members and their guests again might look upon “The Covered Wagon.” And when at last the show started there fol- lowed the almost instantly responsive thrill that seems to be an inescapable accompaniment to gazing upon this really moving picture. It mattered not that the medium through which the famous old story slipped up behind us, so to speak, and willy nilly took entire possession of our consciousness was a print no long- er new and was on 8mm film, thrown on a substandard screen by a projec- tion machine anchored in the aisle of the Bell and Howell auditorium. Forgotten was the absence of the great screen and the brilliant pro- fessional picture we had viewed on other occasions. Present and control- ling was the deep thrall that flows along with a great story, peopled with great characters, all of them motivat- ed and dominated by the primal urge of the pioneer. Torrence Scores Hit In a lucid moment there came to this reporter a thought of the tragic passing of Emerson Hough, creator of this truly epic, who lived until the completion of the picture but whose death descended upon him be- fore having a chance to see it on the screen. That was a case with the individual where death itself may not have been the maior tragedy—where fame fol- lows after death. As the story was unfolded on the Continued on Page 312