Cinema Quarterly (1934 - 1935)

THE SCARLET PIMPERNEL. (British. London Films.) Alexander Korda's new film has the wit and sophistication characteristic of the London Films product; but, more fortunate than The Private Life of Don Juan, which in some degree also had those qualities, it has a rounded and smoothly flowing script and a highly skilled actor as a star attraction. The scenarists — Robert E. Sherwood of Reunion in Vienna, S. N. Behrman of Queen Christina, and Lajos Biro and Arthur Wimperis of The Private Life of Henry VIII — have retained the liveliest scenes of the Baroness Orczy novel and have added something of humour and sophistication. We are in "the finest age of English taste," and the film always tries to suggest this atmosphere. Were it not for the polished acting, particularly of Leslie Howard, fallow patches, occasionally apparent, would be more plainly revealed; but Howard is studied, resourceful and charming, his timing perfect as always; and he is in skilled company with Nigel Bruce, Raymond Massey and Merle Oberon. It is significant that a major influence on the film is the art direction of Vincent Korda. Harold Young (after Rowland Brown's departure) directed, and the camera-work, which gives the film some picturesque moments, is by Hal Rosson, from M.-G.-M. F. H. THE IRON DUKE. (British. G.-B.) "Lives of great men all remind us how like George Arliss they were." This aspect of the film — it was no surprise — apart, it may be said in its favour, that it attempts a bigger subject than the average sevenpenny novelette or penny dreadful of the screen. In the course of the spectacular flirting with history, occasionally sentiments are expressed which are capable of modern application — talk among the Allies of demanding indemnity and Wellington's reference in the House of Lords to Britain's implication in European affairs. These, with the superficial account of Wellington's activities during the years 1815-16, give the film, on paper, a slight significance. But on the screen it lacks life and form, and Victor Saville's direction is flat and uninspired. For one moment the film breaks out free from what is probably more the Arliss than the Saville influence: during the Waterloo episode and, particularly, the vivid and exciting charge of the Scots Greys. Here, at least, there is opportunity to appreciate the quality of Curt Courant's photography. F. H. MARIE (Franco-Hungarian. Osso Films). — This French version of a Hungarian national legend, directed by Paul Fejos with Annabella as star, illustrates how disastrous is the naturalistic approach to a theme which demands fanciful treatment. Until near the end, it is a more or less bald account (in the Gaynor tradition) of the hardships endured by a servant girl in search of work. Then the girl is translated to heaven (with Folies Bergere backcloth), which results in a disconcerting clash of styles. We have been invited to believe in a real tragedy — betrayed girl dismissed by harsh mistress — and without warning comes the intrusion of fantastic elements. Marie appears to have been deliberately made as an "international" film; but it is not sufficiently national to achieve its object. Dialogue is sparsely used to facilitate dubbing, and for no other reason. The problems presented by the sound-track are evaded rather than solved. Campbell Nairne. THE MAN WHO KNEW TOO MUCH. (British. G.-B.) Alfred Hitchcock is much more comfortable and successful with this melodrama of a plot to assassinate a foreign statesman in London than he was with the romantic musical comedy of Waltzes from Vienna. The story by Charles Bennett and D. B. Wyndham Lewis has at least its implausibilities and is seldom reasonable; and it is a measure of Hitchcock's melodramatic success that he can still create suspense in these cir 114