The Bioscope (Jul-Sep 1931)

July 15, 1931 THE BIOSCOPE 27 BOX OFFICE FILM REVIEWS Sound and Dialogue Subjects “Sally in Our Alley” (R.C.A. on Film.) Offered by : Radio Pictures. Produced by : Associated Radio Pictures (Basil Dean). Directed by: Maurice Elvey. Length: 6,967 feet. Release I Date : London, January 11, 1932. Certificate: A. Type: Romantic Melodrama. Cast: Grade Fields , Ian Planter, Florence Desmond, Fred Groves, Gibb McLaughlin, Ben Field, Ivor Barnard, Renee Macready, Barbara Gott, Florence Harwood, Helen Ferrers. IN BRIEF : Adaptation of Charles McEvoy’s play, “ The Likes of ’Er.” Slender and unconvincing story relying entirely upon stellar appeal. Grade Fields, alternating between comedy and drama, is not ideally cast. Moderate direction, good supporting players, three typical Fields songs and heavily applied sentiment will help the film over with industrial audiences where Grade is popular. Suitability : Good average programme feature for “ popular ” halls. Selling Angles : Gracie Fields’ first screen appearance. Plot : Sally Winch (Gracie Fields), of Rochdale, says good-bye to her soldier lover (Ian Hunter) who gets seriously wounded in the war, and rather than impose a burden upon his Sally, exhorts his comrade, Alf Cope (Fred Groves), to report him killed. Sally takes up a post with Sam Bilson, coffee house proprietor, of Mile End, and as waitress and entertainer she “ makes ” his business. Alf Cope returns and, with a view to winning Sally for himself, tells her that her soldier lover, George Miles, is not, in fact, dead, but has married a girl “ out East.” Sam Bilson also tries to marry Sally, but her heart belongs to George Miles. After ten years Miles, having been patched up by the surgeons, decides to return after all and try his luck with Sally. But he arrives at Sally’s rooms when the only occupant is Florrie Small (Florence Desmond), a film-struck, foolishly romantic little waif, whom Sally has befriended and delivered from a cruel father. Florrie’s terrible home influences and her wanton romanticism induce her to tell the returned lover that Sally “ has changed ” and that she no longer wants him. As Sally re-enters the rooms Florrie embraces him, and Sally, misinterpreting the situation, sends him away. Later, Florrie, who has taken advantage of the embrace to relieve George Miles of his wallet, is suspected by Sally, who employs all the subtlety of a Freudian scholar in getting the real truth out of her ungrateful girl friend. Florrie confesses and, going in search of George, brings him back to his Sally just as the latter has returned to Sam Bilson’s cafe to sing, after having attended as a paid entertainer a fashionable Mayfair party. George and Sally are reunited in a characteristically filmish finale on the “ stage ” at the Bilson establishment. Comment : One cannot escape the conclusion that after waiting so long to make her first film, Gracie Fields ought to have been better advised concerning the story she should accept. She might, with advantage, have confined herself to a definite comedy role, for she must not be allowed to forget that she is a comedienne and not a tragedienne. Basil Dean and Maurice Elvey have done their level best to make this positively a Gracie Fields picture, but, in spite of them, the brightest piece of acting is not contributed by the star, but by Florence Desmond, to whom, in common with the rest of the supporting cast, very little scope has been given. Gracie Fields’ Sally Winch is not really a young girl waiting for her lover to return, even though he is ten long years in deciding that surgery can restore him to something approaching physical fitness for marriage. Sally is always a girl far more mature than the lover for whose return she never ceases to hope. The opening sequence lacks none of that tediousness which has marred so many otherwise good British pictures, and when, later, Maurice Elvey succeeds in infusing a little “ motion ” into his “ picture,” he, as though recognising that the story is not the ideal Gracie Fields vehicle, attempts to carry the star through episodes of pathos as though both he and the star had their tongues close to their cheeks. The result is that the dramatic gunpowder gets damp, and where logically there should be a situation forceful in its dramatic purpose there is merely a fizzle. In deference to the star the tragic qualities of this particular story have been treated with the utmost levity. However, notwithstanding that the picture went so near to, while yet remaining so far from, being a really great one, “ Sally in our Alley,” properly exploited, will draw as the first Gracie Fields picture. It will also satisfy audiences who are more interested in personalities, and less critical concerning other factors. It misses being a big picture, but goes near enough to make one say “ What a pity it was not just that bit better.” Acting : Gracie Fields is versatile enough in her own way, but she is not first and foremost an actress. In this film she proves how well she can play at being a comic singer — because she is that singer. But as a tragic sweetheart she is not convincing. Florence Desmond proves herself a clever actress and ought to be given a bigger part at once. Ian Hunter tries hard to be the George Miles of Mile End, but lapses frequently from the lingo of the East End into that of Mr. Ian Hunter from Oxford or Cambridge. Supporting cast is mainly good, with occasional exaggerations of Cockney brogue. Production : Settings are quite good, much being made of contrasts between squalid East London slums (are these so picturesque though ?) and a richly appointed Mayfair home where Sally earns her first ten guinea fee as an entertainer. Sound : Recording is of a high quality, the songs coming over as well as any we have ever heard. Of the songs themselves one can say only that they appear to be of that peculiar quality which often “ catches ” with the public. This applies particularly to the theme song, which, however, is “ overworked ” in the picture. “ The Maltese Falcon ” ( Vitapkone on Disc.) Offered by : Warners. Directed by : Roy del Ruth. Length : 7,264 feet. Release Date : London, December 14, 1931 ; Provinces, December 28. Certificate : A. Type : Mystery melodrama, based on a story by Dashiell Hammett. Cast : Bebe Daniels, Ricardo Cortez, J. Farrell MacDonald, Otto Matiesen. IN BRIEF : Long-drawn-out story of the statuette of a bird filled with gems which various thieves and tricksters try to secure, causing three murders and the imprisonment of the heroine. Complicated and unconvincing. Suitability : A possible attraction for some popular halls. Selling Angles : The name of the star and the title of the film. Plot : A private detective is consulted by a much agitated girl, who is apparently in peril, but she parries his enquiries. Her personal charm appeals to him, but though he makes advances he mistrusts her. A mysterious murder is committed. Various astute individuals call upon him and his life is threatened. He discovers that all are scheming to get possession of a statuette of great antiquity and value. Ultimately it is delivered packed in a suit case, but is found to be only a reproduction, the original being still in the East. The girl is sent to prison on a charge of murder. Comment : This picture is puzzling rather than exciting, though there is an abundance, if not a superabundance, of sensational incidents. The early scenes, especially, though confused excite interest, but to the end the heroine remains an enigma, and when last seen is in prison with a charge of murder hanging over her head ; but the details and motives for the crime are not revealed. Equally unintelligible is the reading of the character of the detective by Ricardo Cortez. Urbane and flirtatious, with a perpetual smile, frequently degenerating into a grin, this individual appears to regard the whole proceedings as a joke, and adopts a pose of careless ease even when constantly confronted by crooks with uplifted pistols. Acting : The best performance is that of J. Farrell MacDonald, who impersonates one of the tricky fraternity. Bebe Daniels plays heroine but fails to arouse sympathy. Many minor parts are satisfactorily filled. Production : Action takes place in comfortable interiors and concludes with a prison. Sound : The dialogue is well recorded. “ Annabelle’s Affairs ” ( Western Electric Sound on Film ) Offered by : Fox. Directed by : Alfred Werker. Length : 6,792 feet. Release Date : Not fixed. Certificate : H. Type : Farce, based on Clare Rummers' play, “ Good Gracious Annabelle.” Cast : Jeanette Macdonald, Victor Mc.Laglen, Roland Young, Sam Hardy, Wm. Collier, Senr. IN BRIEF : The comically frivolous adventures of a fascinating woman who fails to recognise the man she married years previously. Brilliant acting. Lavish production. Suitability : Delightful nonsense for any house. Selling Angles : Jeanette Macdonald and the irresistible gaiety from start to finish. Plot : The proprietors of the palatial hotel patronised by the bewitching Annabelle give instructions that credit for her must cease. Her lawyer calls with news that some mining shares, considered worthless, are now of great value ; but she confesses they are no longer in her hands. Desperately hard up, fortune smiles on her when a stalwart stranger arrives, pursues and makes ardent love. A wealthy inebriate has advanced money on her shares and she goes to his mansion as cook. The stranger follows and is engaged as captain of the capitalist’s yacht. Attempts to secure the papers, which the drunkard carries in his pocket, lead to manv embarrassing scenes. Ultimately, when Annabelle is in the captain’s arms, she discovers him to be the miner, now wealthy, she married years previously. Comment : It is difficult to think of anything a good farce requires which is not to be found in this picture, for there is an adequate plot with a surprise ending, an abundance of funny incidents, clever character studies and, above all, a heroine with remarkable powers of fascination and a beautiful voice. A little inoffensive spiciness is introduced and much ridicule of capitalist ostentation, but the film is free from vulgaiity or buffoonery. When the heroine narrates to her girl friends the story of her early adventure and marriage to a miner, and soon afterwards a bearded stranger arrives at the hotel and evinces anxiety to be shaved, some clear-sighted filmgoers may guess the truth, but the secret is well preserved. Acting : Jeanette Macdonald’s vivacious yet refined performance a'5 the heroine, of course dominates the picture, but Victor McLaglen as the half-forgotten husband and Roland Young as the ever-fuddled man of wealth have very prominent parts. There is nothing remarkable in the former, but the latter presents a wonderfully minute study, consistent throughout and extremely comical. Wm. Collier, Senr., Sam Hardy and many other well-known players give admirable support.