Exhibitors Herald World (Oct-Dec 1930)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

November 8, 1930 EXHIBITORS HERALD -WORLD 39 W NEW PRODUCT This department does not attempt to predict the public's reactions to pictures. It does, instead, present detailed and accurate information on product, together with the frank and honest opinion of the reporter. KISMET SKINNER, A GREAT ACTOR. Produced and distributed by First National. Director, John Francis Dillon. Author, Edward Knoblock. Adaptor, Howard Estabrook. Dialog, same. Editor, Al Hall. Photographer, John Seitz. With Otis Skinner, Loretta Young, Sidney Blackmer, Mary Duncan, David Manners, Ford Sterling, Montagu Love, Charles Clary, Noble Johnson, Blanche Frederici, Carol Wines, Richard Carlyle, John St. Polis, Theodore Von Eltz, John Sheehan, Otto Hoffman, Edmund Breeze, Sidney Jarvis, Lorin Raker, Owlin Francis, Will Walling. Release, January 18, 1931. Footage, 8250. IvISMET" is outstanding for at least two reasons — it brings Otis Skinner to the talking screen in one of his greatest stage successes, and it introduces the Warner Brothers-First National wide screen process, Vitascope. It presents also gorgeous sets which are enhanced by the scope of the stage-wide screen which has been installed at the Hollywood theatre on Broadway. "Kismet" is almost wholly a Skinner vehicle, the other players being decidedly secondary to the development of the story. Those who know Skinner's work will not regret this, for the finesse with which he handles his roles has won for him a foremost place in the American theatre. There were those at the premiere of the picture who were of the opinion that the wide screen should not have been used through the entire production. In the scenes dominated by big sets, yes, but not in the more intimate scenes and closeups. This is the third of the "class" pictures to come from the "Warner Brothers-First National studios, the other two being "Outward Bound" and "Old English." Such pictures are placing a new standard of entertainment upon the screen, entertainment which is drawing those persons who make only occasional visits to the motion picture theatre. "Kismet," as all perhaps know, is the story of Hajj, the colorful beggar of Bagdad who pleads for alms in the name of Allah. Being of an adventurous nature he decides to cast aside the tattered garments of a beggar to seek affluence. In the course of one day following his decision he suffers the tortures of prison and revels in his experiences as a civic official, only to find himself at nightfall back on the cathedral steps begging for alms. It is a picture that has a ready made audience, especially among those in search of a higher type of entertainment. — Jay M. Shreck, New York City. LEWiS AYRES gives a fine characterization in the role of a racketeer, a, netc part for him, in Warner Brothers' "The Doorway to Hell." THE FLAME OF LOVE TRAGEDY. Produced by British In ternational Pictures. Director, Richard Eichberg. Scenario and dialog by Moncton Hoffe. Editor, Emile De Ruelle. Photographer. Henry Gartner. With Anna May Wong, John Longden, George Schnell, Percy Standing, Mona Goya, J. Ley on. Release, October 31, 1930. Footage, 7402. A HIS tragedy of imperial Russia fails to hit the mark established by some of the pictures which have preceded it at the Cohan theatre on Broadway. It is weakened primarily by unsatisfactory dialog and a lack of smoothness in action. Both tend to slow down the development of the story. The burden of the piece is on the shoulders of three players — Anna May Wong, John Longden and George Schnell. Although excellent in their roles as the picture stands, their work would have improved had direction been better. Too often there seems to be indecision as to what to do next. It is interesting to note the number of Orientals who are attending the Cohan showing of the attraction. Anna Mav Wong has displaved her ability as a talking player, and there seems little doubt but what she will find appropriate roles in many American pictures. "The Flame of Love" is tragic, being the story of a Chinese girl trouper who is in love with an officer of the Russian imperial army. This affection is mutual. The first thorn in their happy companionship comes when a demand is made that the little Chinese beauty join the grand duke in a hide-away in a famous cafe. Much against her will she meets his highness, but standing guard secretly are her lover and her brother. When the grand duke makes advances, the brother, posing as a waiter, enters the room and fires upon the royal gentleman, injuring his wrist. He is condemned to die the next morning. The lover appeals to the grand duke, but without avail. It is finally decided among members of the Chinese troupe that the girl must go and offer herself to the duke in order that her brother may be saved. This she does and a reprieve is granted. A final demand, however, is made upon the girl. She must leave her lover and Russia forever. Heartbroken, she acquiesces, and thus is the tragic ending of "The Flame of Love." It will rate only as fair entertainment. — Jay M Shreck, New York City. I I THE DOORWAY TO HELL ' LEWIS AYRES, RACKETEER! Produced and distributed by Warner Brothers. Directed by Archie Mayo. From the story by Rowland Brown. Dialog by George Rosener. Editor, Robert Crandall. Camera, Chick McGill. With Lewis Ayres, Charles Judels, Dorothy Mathews, Leon Janney, Robert Elliott, James Cagney, Kenneth Thompson, Jerry Mandy, Noel Madison. Release date, October 18, 1930. Footage, 7092. T HIS underworld picture merits rating as a very good job all around, by reason of a dialog which almost crackles and seems to be the real thing in a number of instances, and the fine characterization of Lewis Ayres in a new type of role for him. The picture should go over very well, with an S. R. O. on the first day at the New York Strand pointing the way and indicating its possibilities. Whereas in his last starring role Ayres played a young boy finding out what the evils of the antagonism of men can bring about, here he is a self-confident beer racket boss who rules his "mob" and keeps his precincts clear by the casual and expert use of sawed-off shotguns and machine guns. Despite the fact that he appears very young to handle such a role as he portrays here, more credit is due him for the realistic impression he conveys and the confidence with which he does his work. The dialog is meant to be true to character, apparently, but whether it is or not is of little ron=equence, because it has the effect of put