Exhibitors Herald and Moving Picture World (Apr-Jun 1930)

108 EXHIBITORS HERALD-WORLD June 14, 1930 is only felt; therefore, it would be preferable to leave this page blank, and merely say, “See the picture.” Pitz Palu is a mountain in the Alps. Thousands gaze at its white peak in wonder, and a few hardy souls tempt its white perils. But at one time of the year. Spring, its treachery is rampant, and because of that, three splendid characters, two men and a woman, try the impossible— the scaling of the north wall, which has never been accomplished, even in a clement season. It is a simple story, beautifully told, and masterfully handled. Scene after scene of rugged waste greets you; unbelievable closeups of Alpine beauty; acting which is consummate, saturated with traditional centuries. The cast is well nigh perfect, each actor giving a faithful rendition of his or her part, playing it in the strong and rugged manner which such a setting calls for. It would be useless, as heretofore stated, to attempt any lengthy dissertation upon the merits of this film, hut before this feeble dissertation comes to an end, may we just say a word about the photography. It would not be exaggerating to say that the camera work is superb, even unique, with all due emphasis put on that word. The views which one gets of the interior of these huge ice pits, the feeling that the next instant one is to he overwhelmed in one of those rushing slides, in which the whole mountain seems to concentrate, guiding them at will, just as an octopus might fling its tentacles. The night scene, lighted only by the flare of magnesium torches, gives shadows and nuances which are very impressive. And the airplane sequence is undoubtedly a masterpiece. Such flying in such places, and yet photographed. And thus we come to the question that assails everyone upon viewing this picture. “Where was the camera?” And that is something that can only be answered by the individual after seeing the film, and the answer will probably never come, for all one can do is to feel the admiration which comes with the seeming accomplishment of the impossible, and that is the impression one receives. A man who has done a good deal of mountain climbing in the Alps said that it seemed the higher a man got, the better he became. Perhaps that goes for pictures, too. Filmed at such heights, true in every detail, photographed with what seems to be the utmost in photography, wholly understandable, despite the paucity of titles, it may rightly be termed a masterpiece, a masterpiece which will augment box office records to Palu heights. — James Little, Chicago. * * * BRIDE OF THE REGIMENT Produced and distributed by First National. Directed by John Francis Dillon. From the Operetta, “ Lady in Ermine.” Adapted by Humphrey Pearson. Footage, 7,418 feet. Release June 22. Vivienne Segal, Allan Prior, Walter Pidgeon and Louise Fazenda, Ford Sterling, Lupino Lane and Myrna Loy. w ALTER PIDGEON does a darn good job of acting and singing in this new First National picture. He is a typical soldier with a lot of time on his hands and he prefers, naturally, to use it to make love to the young attractive woman who is his hostess. Louise Fazenda is funny. Ford Sterling is silly and behaves like a Sennett keystone cop. His acting is not suited to that of the rest of the cast. Allan Prior does his few cues admirably. Lupino Lane does his old tricks in the same way. Myrna Loy accelerates the whole show with her brilliance and charm. Miss Segal sings much too little and that is what she does best. The Technicolor shots are beautiful, thanks to Dr. Kalmus. The story is one about the regiment which takes over a young count’s home for temporary headquarters while the host is absent. The colonel has a way with the women and tries his technique on the hostess. She resists him and by pure good fortune and accident obtains her freedom from him. — Douglas Hodges, Hollywood. * * * LET’S GO NATIVE A NATURAL! Produced and distributed by Paramount. Directed by Leo MeCarey. With Jack Oakie, Jeanette MacDonald, James Hall, Eugene Pallette and others. Scenario by George Marion and Percy Heath. Photography by Victor Milner. A J. A. MILE a minute twister of laughs, songs and Jack Oakie co-starred with Jeanette MacDonald. It i§ an original screen musical comedy farce directed by Leo McCarey for Paramount. McCarey’s recent success was “The Sophomore.” “Let’s Go Native” is his latest and biggest in the matter of laughs. The story is very light. It concerns a wise cracking group of Broadway playgirls and boys shipwrecked on a South Sea island. Many of the natives are beautiful girls in the little paradise with one man as king. The shipwrecked party are surprised to find the natives speak a pure Brooklyn accent. Pearls and oil are apologized for by the king who has a crown studded with the measly jewels. The stranded party consists of Jack Oakie, Jeanette MacDonald, Kay Francis, William Austin and James Hall. Certain sequences smack of the famous Laurel and Hardy comedy technique and perhaps that is why the picture is so uproariously funny. There is a business of throwing hats into the ocean that is a side-splitter. Eugene Pallette comes in for a big slice of the guffaws with his characterization of a clumsy moving-man. I defy anyone to sit through “Let’s Go Native” and not laugh. — Douglas Hodges, Hollywood. * * * SHADOW OF THE LAW THE UNFAIR SEX. Produced and distributed by Paramount. Directed by Louis Gasnier. Written by Max Marcin from the novel by John A. Moroso. Scenario by John Farrow. Photographed by Charles Lang. With William Powell, Marion Shilling, Natalie Moorhead, Regis Toomey, Paul Hurst, George Irving. Frederic Burt, James Durkin, Richard Tucker and Walter James. Sound footage, 6,329 feet. Released, June 14. N OT until after the picture did I realize that “Shadow of th^ Law” really retells an old story; for so well, so dramatically, so intelligently is it re-told, that there is not a dull moment in it. William Powell moves through a familiar role with his customary ease and assurance. The picture is unusually well directed, well dialoged, and the story very effectively developed. It’s a story of a man who goes to the aid of a lady in distress, and gets into trouble. Jim Montgomery is stopping at the same hotel as Ethel Barry. She is the guest of a millionaire who is violently, though not wrongfully, jealous of her misbehavior. So when he comes home unexpectedly and finds she has been stepping out with Jim, he starts breaking things up. She runs to Jim for protection. In the scuffle, the man is accidentaly pushed out of the window and killed. His cell-mate, Pete, helps him escape after three years confinement. He reinstates himself in society, rises to an important position in a North Carolina mill, and falls in love with the owner’s daughter. But he lives in constant fear of the law. Pete comes to visit him. Meanwhile a detective has discovered Jim’s whereabouts and arrives to arrest him. To gain time, Jim deliberately puts his hands into one of the mill machines, thereby making it impossible to identify his finger prints. The detective is won over by this display of courage and takes upon himself the job of forcing a confession from the woman. Paul Hurst, as Pete, gives a capital performance in a role which is full of laughs. — Harry Tugend, New York. NOT DAMAGED ONLY A WOIK1NG GOIL. Produced and distributed by Fox. Directed by Chandler Sprague. Written by Richard Connell. Adapted by Frank Gay. Dialog by Harold Attridge. Photographed by Chet Lyons. With Lois Moran, Walter Byron, Robert Ames, Inez Courtney, George Corcoran, Rhoda Gross and Ernest Wood. Sound footage, 6,866 feet. Release, May 25. “N ■L X OT DAMAGED” might have been an unusually entertaining picture if done entirely in a farcical manner. But it isn’t. And by its failure to keep its tongue in its cheek, it becomes just mediocre. The story is an obvious one from the start, and is good only in a few of its lighter moments. It concerns Lois Moran, a sales girl in a department store, who longs for the better things in life. And it doesn’t look as though Robert Ames, her crude but honest boy-friend, will ever be in position to give them to her. Lois is a good girl so she looks askance at the handsome cultured stranger who buys dozens of shirts only to be able to chat with her. She is convinced that a rich young man’s attentions must be strictly dishonorable, so she refuses his invitations to dinner. But Robert, by his unwarranted jealousy and nagging, goads her into visiting Walter Byron, the rich young man, at his Greenwich Village studio. There the unexpected happens. He acts the perfect gentleman. But Robert doesn’t believe her when she tells him about it. He reveals his true self by making a very indecent proposal. Disillusioned and tired of it all, Lois goes back to Walter and asks to be taken to a wild party in the Village. And here let me pause to comment that this is the first real depiction of a Greenwich Village party I have ever seen. It is so true to life that even the unsophisticated Lois gets bored and asks to be taken home. But she’s had a bit too much to drink and awakens the next morning to find herself in Walter’s apartment. He assures her he has done nothing wrong and they plan a speedy wedding. Lois Moran does all that can be expected of a part which doesn’t offer great possibilities. — Harry Tugend, New York. * * * THE BORDER LEGION EXTERIOR DRAMA! Produced and distributed by Paramount. Directed by Otto Brower and Edwin Knopf. Story by Zane Grey. With Jack Holt, Richard Arlen, Fay Wray, Eugene Pallette, Stanley Fields, E. H, Calvert and others. Scenario by Edward Paramore and Percy Heath. Photography by Max Stengler. Outdoor romance or wild and woolly Western? “The Border Legion” combines both. It is another Zane Grey best seller, that makes a good picture and fills the bill for a fast moving action “outdoor” with lots of rough cowboys, shooting irons and pretty heroine. It’s a clean and simple yarn with an appeal to the whole family. The Border Legion is a band of cut-throats whose daring depredations are known and feared throughout the West. Jack Holt gives a smooth performance as their leader. Richard Arlen is seen at his best in the role of a cowboy. His love for Fay Wray, being held prisoner by the Legion, gets him in bad and he is forced out. During a raid on a nearby village the band is wiped out with exception of Holt, Arlen and Stanley Fields. Arlen has rescued the girl. Holt and Fields meet to settle an old argument and both are killed. The boy and girl kiss and fade out. Paramount has combined the directorial efforts of Otto Brower and Edwin Knopf to put the book on the screen. The film is mostly exteriors and the photography takes advantage of it. — Douglas Hodges, Hollywood.