Exhibitors Herald World (Oct-Dec 1930)

November 15, 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. A LADY'S MORALS JENNY LIND! Produced and distributed by Metro-Goldwyn-Mayer. Directed by Sidney Franklin. Author, Dorothy Farnum. Adapted by Hans Kraly and Claudine West. Dialog by John Meehan and Arthur Richman. Editor, Margaret Booth. Cameraman, George Barnes. With Grace Moore, Reginald Denny, Wallace Beery, Gus Shy, Jobyna Howland. Gilbert Emery, George F. Marion, Paul Porcasi, Giovanni Martino, Bodil Rosing, Joan Standing, Mavis Villiers, Judith Vosselli. Release date, November 8, 1930. Footage, 7,856. HEROES OF THE WEEK d rRACE MOORE, opera soprano, may be quite unknown to the average motion picture audience, but her work in this picturization of the life of the famous Swedish singer, Jenny Lind, is as fine as anything that could be desired on the talking screen. Her voice records perfectly, and is delightful, nor is her acting and physical attractiveness any less so. Reginald Denny, playing opposite as the young composer who feels he is not of sufficient position to have the singer return his love and goes blind following an accident in the gallery of the opera house, gives as excellent a performance as he ever has rendered on the talking screen. The story, meant to be a litde of the actual personal life of the Swedish "Nightingale," centers entirely about the romance of the two. Every opportunity is taken through the adaptation to bring in the voice of Grace Moore, and each appearance of the star in a singing sequence is welcomed. It is true that the opera sequences have a tendency to draw out the film or cause it to lag a bit in action, but the personality and voice of the stage and opera star more than compensate for any seeming slowing of the pace of the story. Among the selections rendered by Miss Moore during the film are a bit from "The Bride of the Regiment" and a famous aria from "Norma." Other numbers which she sings were composed by Oscar Straus with words by Clifford Grey, including "Is It Destiny," "Barcarolle," "Italian Song" and a students' chorus. Herbert Stothart wrote a Swedish folk song and a number on the popular style, "Oh Why," with lyrics by Harry Woods and Arthur Freed; "Lovely Hour" from the pen of Carrie Jacobs Bond completes the roster of selections. Several of the sequences in the film are decidedly reminiscent of the old silent days, and, though attractive in a measure, are too sentimentally old fashioned to contribute anything to the effect of the picture as a whole. It is very unfortunate that such a title as "A Lady's Morals" should have been given this film. The title is misleading in view of the actual life of Jenny Lind and this picturization of the Swedish opera star. Direction is uniformly excellent and photography good, with a scene of the opera house and Miss Moore singing the aria on the stage being particularly fine. GRACE MOORE and REGINALD DEMY give excellent performances in "A Lady's Morals," M G M picturization of the life of Jenny Lind, the Swedish singer. Though other members of the cast are definitely subordinated to the two featured players, capable work is done by Jobyna Howland as the companion of Jenny Lind, and by Paul Porcasi as the manager of the prima donna. Wallace Beery appears for a moment or two as P. T. Barnum, who has arranged for Jenny Lind to sing at Castle Garden, New York, where the star finds the blind composer who had disappeared, and the two are reunited to end the film. This may be termed an excellent piece of work with a brilliant featured player. — Charles S. Aaronson, New York City. A CHARLEY'S AUNT ONE MAN RIOT! Produced by Christie Film Company. Distributed by Columbia. Director, A. L. Christie, From original stage play by Brandon Thomas. Adaptation, F. McGrew Willis Recording engineer, R. S. Clayton. Dialog director, A. Leslie Pearce. Cameramen, Gus Peterson and Harry Zech. Art Director, Charles A. Cadwallader. Cast: Charles Ruggles, June Collyer, Hugh Williams, Rod McLennan, Doris Lloyd, Halliwell Hobbes, Flora Le Breton. Flora Sheffield, Phillips Smalley and Wilson Benge. 1 AKING hold of that slapstick and hokum comedy, "Charley's Aunt," written in 1892 and portrayed on the American silent screen by Syd Chaplin, Charles Ruggles has whipped it into one of the funniest pictures we can recall seeing. Ruggles, who has been playing less satisfactory parts for a long time, bursts forth as a first rate comedian. His portrayal of "Charley's Aunt" is filled with hokum situations which he puts over with a slam because of his gestures, his facial expressions and his ability to read his lines. The audience at the Fairfax theatre laughed lightly as the preview got underway, and ended in gales of laughter. The whole show revolves around Ruggles, all of the others in the cast feeding him one laugh provoking line or situation after another. And the rest of the cast is good, particularly Halliwell Hobbes, who is an elderly guardian anxious to marry "Charley's Aunt" because of her supposed fortune. Ruggles becomes shy and kittenish, and he follows suit. The things he does while retaining his monocle are enough to tickle the risibilities of old man Gloom himself. The story, of course, has been copied extensively because of its original success. Because of this, even greater credit must go to Ruggles and Al Christie for making it into a clowning, howling success. Two youngsters at college fall in love with two girls, and the affection is mutual. Hobbes, the crabbed old guardian of the girls, is in financial difficulties and he hears about "Charley's Aunt" and her money. The aunt fails to appear on schedule and Ruggles substitutes. Not only does Hobbes play the suitor, but the father of one of the boys, played by Phillips Smalley, does also. Ruggles' main effort is devoted to getting a signed consent from Hobbes for the girls to marry the boys. The real aunl shows up. The women in the cast lend love interest and pictorial background. The juveniles are particularly good, and Doris Lloyd does exceptionally well as the real aunt of Charley, one of the boys. In fact, the supporting cast couldn't be bettered. The scenes are well laid, credit going to Charles Cadwallader, the art director. Photography of a superior nature brings out the convincing settings, all laid at an English college, and in an English home. Charles Ruggles' cavorting is even funnier because of the staid, solid atmosphere of respectability. There are a few broad lines and gestures, but the humor which revolves about them carries them through. Ruggles, in my opinion, is hitting a stride which will take him into the front ranks of the comedians. His first really funny job was in "Her Wedding Night," where his imitation of a cat sent the preview house into convulsions. That act involved just a fleeting moment. This time, he is the whole show, and he proves conclusively that he has the right to be. — Edward Churchill, Hollywood.