The Bioscope (Jul-Sep 1931)

September 30, 1931 THE BIOSCOPE 27 infinitely worse than his bite, a role grandly acted by Frederick Kerr. With a mind in a whirl, Myra escapes and returns to London. Roy follows, and after a passionate interview, in which she asks him to leave, he extracts a promise of marriage from her. Called back from leave, he visits the apartment to find her gone. Settling accounts with the landlady, he rushes out and, in London of all places, finds her again on Waterloo Bridge. A hasty good-bye and they leave each other, but, immediately after, Myra’s problems are solved by the bursting of a Zeppelin bomb. The sudden and tragic ending is a distinct blemish, giving one the impression that the author is afraid of the consequences of an alliance between the two, thereby strengthening suspicions as to the girl’s character. The production as a whole is certain to enhance the reputation of James Whale as a director as apart from war-time themes, for it is not to be denied the depth of feeling he has created with each of his characters. In this he has been well served by the cast. Mae Clarke reveals strong dramatic power in a difficult role, while Kent Douglass is pleasing as the youth. Other assignments ate small, the best coming from Rita Carlisle as the Cockney neighbour of Myra’s. The raid scenes are impressive and powerfully reminiscent of London’s reign of terror. Particularly effective also is the London background, made possible by means of the Dunning Process. ANALYSIS Story .... 12*% Direction .... 15% Acting 17*% Recording and Dialogue. .. 17% Photography 18% out of 20% ,, 20% ,, 20% ,, 20% ,, 20% 80% ,, 100% THE CAST Myra Roy Kitty Major Wetherbv Mrs. Wetherby Mrs. Hobley The Cockney .... Mae Clarke Kent Douglass .... Doris Lloyd Frederick Kerr ... Enid Bennett Ethel Griffies .. Rita Carlisle Offered by : U niversal. Produced by : Carl l.aemmle, jun., for Universal. Directed by : James Whale. Story by : Robert Sherwood. Recording : Western Electric Sound on Film. Length : 6,562 feet. Release Date : March 28, 1932. Certificate : A H. M. “ Monkey Business ” (Paramount) Marx Brothers Again The four Marx Brothers have so established themselves as a quartette of a unique and novel strain of humour that no film in which they appear can be judged by any standard than that which they have themselves created. For absolutely irresponsible and absurd humour they are quite unapproachable, and when it is admitted that they have no more story to tell than the Needy Knifegrinder, and that their dialogue consists only of catch phrases and backchat, it seems surprising that they can hold attention and compel laughter from some people without ceasing for an hour and a half. The four brothers are discovered as stowaways on an Atlantic liner, and one may suppose that they have no more purpose in crossing the ocean than the opportunities afforded them to bewilder and obstruct the authorities and add to the excitement of the passengers and crew. Attempts to evade the officers, the interference of rival gangsters, a concert party at sea, the difficulty of landing without passports, and a final scene in a stable, provide a long succession of mirth-provoking situations, which follow so fast one after another that there is no opportunity to criticise and no necessity for any criticism but helpless laughter. Groucho again shows his ability to provide a perfectly senseless answer to every possible question, Harpo is blandly imbecile as ever, Chico and Zeppo are always ready to fill in what few vacant spaces they can find. Rockliffe Fellowes, Thelma Todd, Tom Kennedy and other well-known players wisely decide to follow the example set by the leading players and go in for frank burlesque. The direction is fast and furious, the settings as elaborate as if the whole were a sane and sensible record of real life, and the photography is admirable. It is a film equal to any of its class, though one might wish for a little more of the brothers’ musical skill. ANALYSIS Story 5% Direction 15% Acting 17£% Recording and Dialogue.... 17*% Photography 15% out of 20% „ 20% „ 20% „ 20% ,, 20% 70% „ 100% THE CAST Groucho Marx Rockliffe Fellowes Harpo Marx Tom Kennedy Chico Marx Thelma Todd Zeppo Marx Offered by : Paramount. Directed by : Norman McLeod. Length: 6,298 feet. Certificate: U. Release Date : March 7, 1932. Recording : Western Electric Sound on Film. “The Hard Hombre” (Universal) Hoot Gibson in Story-Value Picture This may be described as a romantic drama with the usual Western characteristics, good love interest and artistic settings of the Mexican order. The star is at his best, and towards the close gives a splendid fistic display. “ Peaceful Pat ” has earned the sobriquet through being tied to his mother’s apron strings. But a stupid cattleman gets the idea that the young fellow is in reality the mysterious ruffian known as the “ Hard Hombre.” When Pat becomes foreman to a fascinating young widow, owner of a cattle ranch, the lawless crew around her, believing they have to deal with the notorious bandit, change their attitude, and rustlers pay for stolen cattle. Pat not only rises in the esteem of his employer, but arouses a warmer feeling. As he is more intent on work than love, her advances meet with a poor response. A shortage of water endangers the lives of the cattle. River grazing grounds are discovered, and the land is portioned out, Pat acting as dictator. The arrival of his mother and the discovery of the real hombre bring matters to a head. It also brings the love affair to a satisfactory conclusion. This little story of mistaken identity has its humorous side, for such is the reputation of the real bandit that the rustlers are cowed by the peaceful Pat. His mother appears as a strict Sabbatarian with an aversion to fighting and firearms. But when at the close her son is having a ferocious struggle with the much-wanted ruffian she forgets her principles and is wild with excitement and approbation. Hoot Gibson has a part in which he is, of course, quite at home, and Lina Basquette is charming in appearance and fascinating as the anxious-to-be-wooed Senorita. Of its type, the picture is excellent. ANALYSIS Story .... 15% Direction .... .... .... 18% Acting .... 18% Recording and Dialogue.... 15% Photography .... .... 20% out of 20% ,, 20% „ 20% „ 20% „ 20% 86% „ 100% THE CAST Hoot Gibson Skeeter Bill Robbins Mathilde Comont G. Raymond Nye Jessie Arnold Lina Basquette J ack Byron Christian Frank Rose Gore Frank Winkleman Offered by : Universal. Produced by : Universal Pictures. Directed by : Otto Brozver. Length : 6,045 feet. Release Date : Not fixed. Certificate : U. Recording : R.C.A. Sound on Film. * “A Honeymoon Adventure ” (Radio) A Typical Girls’ Magazine Story Persistent attempts to steal valuable plans, a battle of wits between a young bride and her husband’s persecutors, and mad races between train and car are popular ingredients in a story, however improbable parts of it may be. These are the backbone of a production which is always moving, is great in parts, but often lacking in conviction. The trend of the storv takes us to Scotland, where the newly married Martins intend spending their honeymoon. On their arrival the wife hears for the first time that her husband is the author of a revolutionary engineering scheme, the plans of which are deposited in the house safe. A telegram, proved later to be faked, takes the husband back to town immediately, where he is promptly “ bagged ” by a gang of crooks who wish to obtain the plans. His departure coincides with the arrival of the arch conspirator, and it is at this juncture that Elvey’s direction spoils what is, up to then, quite a feasible little story. By his behaviour, the crook immediately arouses the wife s suspicions even though she is still unaware of the existence of the plans, an unpardonable attitude surely in such a polished cracksman as this one is depicted to be. Obtaining the plans, the girl makes a spectacular dash to London. By a hair s breadth she beats her rival in boarding “ The Royal Scot,” which he, however, catches up at the next station, having ridden at breakneck speed in the girl’s Bentley car, a race which is beautifully arranged and superbly photographed. Then follows a long pursuit in I.ondon with no reason given for the girl’s reluctance to hand her follower over to the first policeman she comes across. In the meantime the husband is languishing in a London tenement, haggard and begrimed, and though exceedingly sore at his detention, failing to take advantage of at least one golden opportunity to escape. His glorious scrap with his opponents in the closing scenes which see the young wife’s triumph, is a rattling good finish. , , ,, , , . The part of the crook sees Harold Huth in what is to him a familiar role and which he handles in his usual polished style. Bemta Hume is very effective as the wife, and Peter Hannan pleasing as the husband. Though not up to first feature standard, its scenes of London and excellent English scenery should make it a welcome supporting feature. ANAI Story Direction .... Acting Recording and Dialogue Photography YSIS 10% 1 2J% 15% 15% 17*% 70% out of 20% 20% 20% 20% 20% 100% THE CAST Eve Martin Bemta Hume Peter Martin Peter Hannan Walter Creason Harold Huth I nelson Walter Armitage Chauffeur Jack Lambert The Old Woman Pollie Emery Harvey Robert English. Josephine ....""""""“"l. Margery Binner yanet Frances Rose Campbell Offered by : Radio. Produced by : A ssociated Radio Pictures. Directed by : Maurice Elvey. H. M. “The Spider” (Fox) A New Edmund Lowe Those in need of excitement will find it in Edmund Lowe’s new vehicle, “ The Spider, dealing with the occult. The title, though perhaps not an apt one, is intriguing, and the subject of hypnotic influence is one which has, for the majority, a strange fascination despite their disinclination to delve into its mysteries. For theme, the story concerns the unmasking, through a medium, of a murderer, and with the aid of fantastic and brilliantly conceived settings, plus some Maskelyne and Devant trickeries, the development is as convincing as its type will permit. The admirers of Edmund Lowe, who heads the cast of this rather involved story, mil be in two minds as whether to appreciate the character or not. The easy-going ‘ doughboy and flippant crook is missing, though with all his sinister exterior he is still the arch bluffer, and reveals a distinctly soft spot both forms assistant in deceit and the latter s sister. That he handles the part in his usual polished manner goes without saying. ~ As Chatrand, the great magician and seer,