The Bioscope (Jul-Sep 1931)

26 THE BIOSCOPE September 30, 1931 Pictures. Directed by : Wm. Seiter from a story by Douglass MacLeau. Photographed by : Albert Herman. Length : 6,443 feet. Release Date : March 14. 1932. Certificate: U. Recording: R.C.A. Sound on Film. H. M. “ Vienna Waltzes ” (A.P.D.C.) A Masterpiece of Melody The great success of the musical romance “ Waltzes from Vienna,” now playing at the Alhambra Theatre, would seem to indicate that there is a large public for the musical play which presents popular masterpeices as the accompaniment to a story of human domestic interest. The life story or the. great waltz composers Strauss, father and son, whether the details be true to fact or not, is sufficient to provide an effective setting for music which has been popular for nearly a century, and if in this version the music proves of chief importance, it is because both the story and the acting are handicapped from a popular point of view by the dialogue being in German. Johann Strauss at the height of his success as a composer of dance music and conductor of a world renowned orchestra, does all he can to discourage his eldest son Johann from adopting a musical career. Young Johann, however, encouraged by the devotion of bis mother, his sweetheart Lisl, and his music master, pursues his studies, and though estranged from his father and neglectful of the girl who loves him, he succeeds, helped by the influence of a great lady, in establishing his fame by playing the celebrated “ Blue Danube ” waltz at a concert patronised by Royalty. Through Johann’s neglect his sweetheart Lisl is reluctantly persuaded to give her hand to another suitor, and it is only when his father is lying on his deathbed that the son is reconciled to him and justifies the choice of his career by playing the most celebrated of his compositions. The film has very little action, and therefore, being of necessity dependent on its dialogue, can only appeal in its present form to a restricted circle, though the introduction of a few subtitles in English would vastly extend its popular appeal. The language question also handicaps the efforts of the actors, who, playing with quiet intensity, will hardly be appraised at their full value by the average picture goer. Gustav Frolich plays the younger Johann with strong conviction and great personal charm. Hans Junkermann gives a fine character study of the elder Strauss, and his affecting death scene proves the great versatility of this experienced actor. Marie Pandler is charming as Lisl in her serious moments, though rather inclined to force the low comedy note in some of her scenes. The outstanding feature of the production is undoubtedly the music, which is perfectly recorded. ANALYSIS Story ... 10% out of 20% Direction .. .... 10% ,, 20% A cting .... l?i% ,, 20% Recording and Music .... 174% „ 20% Photography .... 15% „ 20% 70% „ 100% THE CAST Johann Strauss Hans Tunkermann Johann Strauss Gustav Frolich The Mother Tulia Serda Lisl Deisinger Maria Pandler Offered by : A.P.D.C. Produced by : Splendid Film, Germany. Directed by : Conrad Wiene. Release Date : Not fixed. Length : 8,000 feet. Certificate : U. Recording : Klangfilm on Film. J. H. B. “ Merely Mary Ann ” (Fox) Charming Version of Zangwill Comedy If, as has been alleged, there are only seven original dramatic plots in the world, the story of Cinderella must be one of the most popular. It has certainly been retold in unending variety and seldom fails in its appeal. Israel Zangwill’s pleasing variation of the theme, produced some 25 years ago, had considerable success on the stage as a story of pretty sentiment and polished comedy. It has been produced once or twice on the silent screen during a period when Hollywood decreed that sensation was demanded by the box-office, and poor little Mary Ann was subjected to trials of which her author certainly never dreamed. Henry King, the director, has achieved complete success in reproducing the spirit of Zangwill’s comedy, and that while freely adapting the play to suit the temperament of his stars, he has introduced no irrelevant melodrama. Mary Ann, who has been brought up in an American orphan home, is later employed in London as maid-of-all-work by Mrs. Leadbatter, a Bloomsbury boarding-house keeper. John Lonsdale, a struggling young musician, becomes the object of Marv Ann’s secret adoration, and he accepts her ministrations with tolerant condescension. John goes into the country to finish the score of an opera, and Mary Ann persuades him to take her as his housekeeper. Here she is ideally happy until she hears that a relative in America has left her a large fortune. Rejoiced at the opportunity of being of further service to John, Mary Ann timidly suggests marriage. John, however, is too proud to listen to her .offer., and Mary Ann goes sadly away. John’s opera is finished, and on its first night he again meets Marv Ann, now a beautiful member of society. Elated with hi£ sucfcess, he begs her to confirm her willingness to marry him, but Mary Ann still feels a grievance against him and sadly refuses him. John goes back to his country cottage in despair, but later she appears in the doorway, putting on the gloves she has always worn when occupied in attending to his wishes. Though originally written for an actress who emphasised the comedy, the piece has been very skilfully adapted to suit the pretty sentiment which is Janet Gaynor’s most pleasing attribute. There is light comedy in plenty, supplied both by the young couple and bv the well-drawn character of the landlady. The chief attraction of the film, however, is the very charming love story of two delightful young people. Miss Gaynor adds another delicate picture to her series of Cinderella studies and one which will extend the circle of her admirers. Charles Farrell plays John with a boyish charm. Mr. Farrell also proves himself an admirable pianist. Beryl Mercer is excellent in a very convincing character study of the sharp-tongued but good-hearted landlady, and Arnold Lucy gives a good sketch of a smug vicar. The direction is smooth and easy and the continuity good. ANALYSIS Story 1*7% out of 20% Direction .... 174% .. 20% Acting 174% ,, 20% Recording and Dialogue ... 15% ,, 20% Photography 15% ,, 20% 80% „ 100% THE CAST Mary Ann Janet Gaynor John Lonsdale Charles Farrell Mrs. Leadbatter t Beryl Mercer Rosie Leadbatter Lorna Balfour Vicar Smedge Arnold Lucy First Drayman J. M. Kerrigan Peter Brooke G. P. Huntley, Jr. Brahmson Harry Rosenthal Offered by : Fox. Produced by : Fox. Directed by : Henry King. Release Date : Not fixed. Certificate : U. Length : 6,750 feet. Recording : Western Electric Sound on Film. J. H. B. “The Magnificent Lie” (Paramount) Ruth Chatterton in Unconventional Role Few practical jokes are perpetrated which, after thg laughs have died away, do not jar upon the feelings. In this case the victim is a blind man, who arouses commiseration throughout, while the laughs are few, and the perpetrator, a charming girl, excites irritation often bordering on contempt. This quite unusual story is unfolded with considerable ingenuity, and in spite of a few improbabilities, and a little padding, holds the attention well. Opening in 1918, a wounded American soldier is seen in hospital while a prima donna makes a round of the wards, after entertaining the convalescents. Admiration bordering on adoration takes possession of the man and when a bomb falls he shields her. Years pass, but the impression is not effaced, and when the now half-blind civilian hears that the celebrated actress is visiting the city, he determines to go to the theatre and make himself known. He attends the performance, but the glare and excitement bring on total blindness. He falls into the hands of two cynical and facetious French actors and visits a night club where a girl singer gives an imitation of the prima donna’s performance. Easily persuaded he is listening to the great actress herself he makes the girl’s acquaintance. She does not scruple to deceive him, to the delight of the jeering actors. They, one evening, brings the great tragedienne to the night club and she enjoys the heartless joke which is still being kept up. Ultimately the girl’s better nature is aroused. In consequence of a motor smash the man recovers his sight and the couple are drawn together. Based on “ Laurels and the Lady,” by Leonard Merrick, brilliantly acted by a well-selected cast, and artistically staged with music, singing and fragments of an opera, it is undeniable that the film is a noteworthy one. Ruth Chatterton as the girl singer displays remarkable versatility, and Ralph Bellamy triumphs in the difficult part of the blind man. Perhaps a less virile impersonation would make him more convincing, but towards the close, when the man discovers how he has been deceived, the actor has a splendid opportunity and rises to the occasion. On the strength of Ruth C.hatterton’s name the film will probably appeal in spite of the theme’s callousness. ANALYSIS Story 10% out of 20% Direction .... 15% 20% Acting 17% ,, 20% Recording and Dialogue ... 18% ,, 20% Photography 18% ,, 20% 78% ,, 100% Poll THE CAST Ruth Chatterton Bill Ralph Bellamy Elmer Stuart Erwin Rosa Duchene ... Franr.oise Rosay Larry Sam Hardy Jacques Charles Bover Pierre Tyler Brooke Clarence Tyrrell Davis Stage Manager .. Jean del Val Offered by : Paramount. Produced by : Paramount. Directed by : Berthold Viertel. Photographed by : Charles Long. Length : 7,131 feet. Release Date : March 21, 1932. Certificate: A. Recording : Western Electric Sound on Film. I J “Waterloo Bridge” (Universal) London in War-time The mushroom-like love affairs of young soldiers home on leave from France were, we are told, recorded, though a picturisation of the one in which the principal parties in “ Waterloo Bridge ” are concerned, while holding interest for the most part, is unreal in conception. A young Tommy and a girl (we are left to our own conclusions as to her calling) are the principals in a war-time tragedy. James Whale, obviously with an eye on the Censor has, in the handling of the woman’s part, a difficult problem. He has studiously avoided relegating her to the ranks of street women, though to most this is all too plain, and to these the incongruity of the courtship must be apparent or. alternately, an utter lack of sympathy with this greenest of youths. In the excitement of an air raid and while on his way home from leave, Roy, aged 19, meets Myra, an out-of-work chorus girl, and at her invitation accompanies her to a tawdry apartment situated in a notorious neighbourhood. Moved by her poverty, he is soon offering, besides his love, a substantial advance to meet her debts. This she refuses and he leaves for the palatial home of his father in the country, promising to return for her next day. The arrival of Myra at Roy’s home, to which he has brought her by means of a trick, provides a touching scene between the two women, the mother asking the girl not to take advantage of her son’s offer of marriage until later. Here also is introduced some delightful humour in the character of the old father, whose bark is