The Bioscope (Oct-Dec 1931)

20 THE BIOSCOPE November 25, 1931 puppet moves among a bevy of hysterically inclined females, and it is not until the closing stages that he bears any resemblance to an international spy. During the World War, Captain Orloff (Ivan I.ebedeff), without rival as a lady killer, is sent from Russia to unmask the activities of a woman spy. In his meeting with Diana (Genevieve Tobin) during the journey, the director has unsuccessfully endeavoured to create a suspicious atmosphere, though it is a foregone conclusion that she is really the girl with whom he is later to fall in love. The rather hackneyed idea that women who use no scent are up to no good is the theme upon which our hero works, and he is soon at grips with Baroness Corri (Bettv Compson), who is none other than the fiancee of Colonel Gorin (Purnell Pratt), head of the Russian Secret Service. The development is here characteristic in that he falls foul of Diana, whom he is on the point of losing. By a surprising coup, however, his mission proves a success, and he returns to his superiors with both women — the one his lover and the other a prisoner. The little excitement in the final scenes saves the picture from complete mediocrity, though by this time it has considerable leeway to make up. Ivan Lebedeff, with an engaging accent and an exaggerated display of polished manners, is satisfactory ; Betty Compson is sufficiently convincing in the role of the spy ; and Genevieve Tobin charms in the very conventional part of Diana. Purnell Pratt appears in a very familiar role for him — of a bully who endeavours always to exceed his authority. ANALYSIS Story and Dialogue 10% out of 20% Direction .... 14% ,, 20% Acting 15% „ 20% Recording and Photography 17% 20% General Appeal 11% ,, 20% Vendor,” heard throughout as a theme song, much care free fooling and lavish production. From this it will be gathered that the appeal is chiefly to eye and ear. An early scene, when the faithful sweetheart complains, reveals Terry’s character. Jolly, energetic and amiably disposed, he hardly wins sympathy, being anything but heroic, and obviously selfish and fickle. Tibbett makes a strong appeal as a passionate lover, and has, in Lupe Velez, a partner capable of rising to emotional heights. There is much Spanish and broken English (requiring close attention) and boisterous merriment supplied by Jimmy Durante, Ernest Torrence and Louise Fazenda, the two former having prominent parts. The camera work is pleasing with a wonderful variety of scenes introduced. Among them is a carnival, seascapes, street episodes (where Terry sings with Nenita) and brief glimpses of the war. Perhaps the most noteworthy is some illusionarv photography when the ghost of the youthful Terry sings and merges into the figure of the middle-aged man. ANALYSIS Story and Dialogue Direction .... Acting Recording and Photography General Appeal 10% out of 20% 15% ,. ’ 20% 17% ,. 20% 17% ,, 20% 15% „ 20% 74% ,, 100% I. J “The Montana Kid” Offered by : Wardour. Written and Directed by : Harry Fraser. Length : 5,423 feet. Release Date : Not fi red. Certficate : U. Recording : Western Electric Sound on Film. THE CAST 67% ,, 100% H. M. “The Cuban Love Song” Offered by : Metro GoldtcvnMayer. Directed by : W. S. Van Dyke. Written by : C. Gardiner Sullivan and Bess Meredyth. Length : 7,700 feet. Release Date ■ Not fixed. Certificate : A . Recording : Western Electric Sound on Film. THE CAST Terry Lawrence Tibbett Menita Lupe Velez O. O. Jones Jimmy Durante Romance Ernest Torrence Crystal Karen Morley Elvira Louise Fazenda and The Palau Brothers’ Cuban Orchestra. Suitability : Exhilarating picture for popular halls. Singing of remarkable intensity, rollicking adventures, spectacular scenes and the evergreen story of a sailor’s infatuation provide vivid and tuneful entertainment. Terry, a mercurial Marine, is reminded by Crystal, who loves him, that when he is absent she only receives an occasional postcard. He departs for Havana, and with a party of carefree chums explores the town on a rickety car. They collide with the little cart of Nenita, a peanut seller, which is smashed up. Beside herself with rage, the girl appeals to the police. In court Terry cuts a sorry figure, and Nenita withdraws the charge. A flirtation ensues, which develops to a serious passion. Bliss is interrupted by the war, and the lovers are obliged to separate. Terry returns to the States wounded and ill. The faithful Crystal tends him and the couple marry. Years afterwards, accidentally hearing the song so often sung by the little Cuban girl, an irresistible desire comes over the man to visit the scene of his romance. He finds the girl he loved is no more, but discovers a child whom he recognises to be his own. His faithful wife welcomes the little one. This is a film of the type which the majority of picture-goers find vastly entertaining, it being a skilful confection of approved ingredients. For this the director deserves warm commendation. Though not without poetic and imaginative touches, the story is artificial and meagre. This is camouflaged by the remarkable singing of Lawrence Tibbett, emotional acting by Lupe Velez, the touching melody of “ The Peanut Bill Denton Bill Cody Andy Burke Andy Shuford Chuck Larsen W. I,. Thorne Molly Moore Doris Hill John Burke John Elliott Suitability : Melodramatic Western for audiences that are easily pleased. Though characterisation is conventional and theme familiar, capable acting and a little pathos sustain reasonable interest. When young Andy reaches home he hears that his father has been shot, and soon afterwards finds that Larsen, the saloon proprietor, has the power of turning him out of the ranch. But a friend arises in Bill Denton, who know's the bov’s father was murdered by Larsen and the document to be a fraud. Ultimately he not only unmasks the villain, but kills him. In spite of many unconvincing happenings this picture will interest and amuse patrons of a distinctly popular type. Bill Cody plays Denton with an air of efficiency and, of course, makes love to the pretty girl who arrives with the boy in the stage coach. The voungster is cleverly played by Andy Shuford. W. I.. Thorne impersonates Larsen, the doubledyed villain, on melodramatic lines. Excellent staging and much impressive scenery add realism. ANALYSIS Story and Dialogue 8% out Of 20% Direction 10% „ 20% Acting 15% ,, 20% Recording and Photography 15% ,, 20% General Appeal . .. 10% 20% 58% 100% I J “ The Champ ” Offered by : M.-G.-M. Produced by : M.-G.-M . Directed by : King Vidor. Photographed by : Gordon Aril. Length : 7,770 feet. Release Date : Not fixed. Certificate : A . Recording : Western Electric on Film. THE CAST The Champ Wallace Beery Dink Jackie Cooper Linda Irene Rich Sponge Roscoe Ates 'Pirn Edward Brophy Tony Hale Hamilton Jonah Jesse Scott Mary Loti Marcia Mae Jones Suitability : Excellent popular house booking. Both author and director have set themselves out to bring tears to the eyes of the beholders of this film. Their efforts will meet with a big measure of success everywhere among female fans. This is Jackie Cooper’s film, for he has stolen the prime place from such a talented artist as Wallace Beery. Not until the advent of this film has the real genius of this child been revealed. Much of the success is no doubt due to the clever direction of King Vidor, but that the youngster has a wonderful natural gift there is no room for doubt. He is the son of a dissolute waster and gambler (Wallace Beery), a former boxing champion, is brought up in squalid surroundings, but idolises his father. His mother, now married to wealth, comes into his life, and eventually the father, much against his will, allows the boy to go to her. Repenting of his past handling of the kid, the Champ trains seriously for a fight. After a bloody contest he wins, but dies as a result of his bad living. The film is full of clever touches, and though the tone is in the main on lines of sentiment and pathos, humour has by no means been neglected. Pathos has been applied w'ith a tar brush in incidents connected with the purchase of a racehorse which the Champ buys for his boy, and more particularly in the closing scenes when Jackie realises that his idol his dead, and the mother takes him away. The acting all round is good. Wallace Beery is superbly cast as a swaggering boozer, Roscoe Ates stutters his way through a pleasing part, and Irene Rich is most appealing as the mother, though her sudden interest in the boy, of whom she appears to have made no previous enquiries, hardly rings true. The staging is splendid and Vidor’s handling of the big fight in which Beery is a contestant is admirable. ANALYSIS Story and Dialogue Direction .. . Acting Recording and Photography General Appeal .... 12% out of 20% 18% ,, 20% 17% ,, 20% 15% ,, 20% 15% „ 20% 77% ,, 100% H.M. Short Product “ SCRATCH AS CATCH CAN ” (Radio). 1,789 feet. Release date: April 25, 19.32. Certificate: U. A couple of down-at-heel specimens (Clark and McCullough) take on the job of insurance men, and, after exploiting their wrestling powers, manage to sell insurance to the president of the company employing them and to one who has hitherto proved unapproachable. Some hearty knockabout and well-delivered quips will get this over among popular audiences. ‘‘ROAD KNIGHTS” (First National). 758 feet. Release date : Not fixed. An amusing skit of America’s hoboes, who hold a convention and deliver some clever, eccentric dances. Their methods of travelling to the seat of the convention will please most. ‘‘MICKEY’S WILDCATS” (Radio). 1,669 feet. Release date: April 18, 1932. Certificate: U. Not up to the general standard of the McGuire series, but, nevertheless, fairly amusing. The gang discover a baby and endeavour to adopt it, despite the mother’s protestations. Good for children. “ STRONG AND WILLING ” (First National)540 feet.. Release date : Not fixed. CertificateU. Trixie Friganza, a musical comedy star suffering from excessive avoirdupois, cuts a sorry figure when rendering variations of “ Roses of Picardy.” Limited appeal. “THE HARD GUY” (First National). 575 feet. Release date : Not fixed. Certificate : U. Spencer Tracy is an out-of-work who leaves his wife and child to seek work with a revolver concealed on him. The result is mildly surprising. For the easily amused. “TAKING CHANCES” (First National). 906 feet. Release date : Not fixed. Certificate : U. A man, to be near his girl, whose father takes exception to him, masquerades as a maid, but finishes up in hospital. Average comedy offering. A number of short film reviews are held over owing to pressure on space.