Exhibitors Herald World (Oct-Dec 1930)

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40 EXHIBITORS HERALD-WORLD November 15, 1930 THE CAT CREEPS MYSTERY MELO! Produced and distributed by Universal. Directed by Rupert Julian. Adapted from John Willard's "The Cat and the Canary." Continuity by Gladys Lehman and W illiam Hurlburt. Cameraman, Hal Mohr. With Helen Twelvetrees, Raymond Hackett. Neil Hamilton, Lilyan Tashman, Jean Hersholt, Montagu Love, Lawrence Grant, Theodore von Eltz, Blanche Frederici, Elizabeth Patterson. Release date, November 10. 1930. Footage. 6,493. T. I HIS is an adaptation of the famous stage thriller, "The Cat and the Canary," and is played by a very fine cast headed by Helen Twelvetrees and containing such box office names as Raymond Hackett, Neil Hamilton, Lilyan Tashman and Jean Hersholt. It seems to this reporter that the stage play was more effective in its suspensive moments and spine tingling thrills than the audible picture version, but there is opportunity in the film for striking atmospheric effects which were necessarily impossible on the stage and these have been fully realized on. Audience reaction in the New York theatre emphasizes the desirability of having everyone see mystery pictures from the opening reel, rather than arrive at the playhouse in the middle or toward the end of the feature entertainment. The theme of the play is probably a familiar one to most people. It concerns what follows the reading of a will 20 years after the death of the owner of an old mansion. Of course there is the old servant whose deep voice and long drawn face add to the effect. Blanche Frederici does very well in conveying the mystery impression from the opening scene. Theodore von Eltz as Crosby, the elderly lawyer, reads the will which gives the estate to Annabelle, played with a good sense of the dramatic by Helen Twelvetrees, who proves herself a really versatile actress. A codicil states that in the event the heir is proved of unsound mind the estate is to go to the person whose name is contained in a third envelope, which is not to be opened except when the heir is proved incapable of holding the estate according to the terms of the will. Immediately thereafter, the cat begins to creep all over the spooky old mansion with several of his claw handed performances, until his identity is eventually discovered following a rough and tumble fight between the mystery person and Paul, played by Raymond Hackett. Hackett handles his role competently, with an excellent transition of character, from the early part where he registers fear at the weird happenings going on in the house, to the latter stages where he picks up courage and himself ferrets out the mysterious man of terror. Neil Hamilton, as one of the guests at the house at the reading of the will, is capable in his role, as is Lilyan Tashman, who, however, has merely a supporting part. Elizabeth Patterson contributes what little comedy relief is meant to ease the tension of the film, as Susan, and is quite amusing as the frightened aunt. Photography is excellent throughout, with several interior shots that are highly important in maintaining the atmosphere of suspense and fear around which the play is built. Practically the entire picture is set within the old mansion. Direction is uniformly good, though it might have been more effective if less attempt had been made to create the weird atmosphere, since the audience was amused rather than fascinated. However, this is good as an hour's entertainment, and the work of the cast as a whole merits praise. — Charles S. Aaronson, Netv York City. CHARLES RUGGLES holds ranking as a firstrate comedian in '*Charley*s Aunt," Columbia comedy produced by Christie. RENEGADES THE FOREIGN LEGION! Produced and distributed by Fox. Directed by Victor Fleming. From the novel "Le RenegaC by Andre Armandy. Adaptation, continuity and dialog by Jules Furthman. Photographer, William O'Connell. Editor, Harold Schuster. With Warner Baxter, Myrna Loy, Noah Beery, Gregory Gaye, George Cooper, C. Henry Gordon. Colin Chase, Beta Lugosi. Release date. October 25, 1930. Footage, 8,400. T HE French novel "Le Renegat" has been adapted cleverly and intelligently to produce a swiftly moving and carefully worked out film concerning four members of the French Foreign Legion stationed in Africa. A fine cast throughout is headed by Warner Baxter as leader of the four, and Myrna Loy in the role of the war spy who was the cause of Baxter's joining the Legion following the betrayal of military secrets he had entrusted to her. The desert background, against which the entire picture is set, is extremely effective, with several particularly good shots of charging Riff cavalry and a desert encampment which Baxter has made his headquarters after he and his companions deserted from the Legion and organized the desert tribes with himself at their head. The four men form an interesting group, all giving excellent characterizations. Baxter plays a French former officer, accused of desertion from the army; Noah Beery is cast as a German and does well even to the gutteral German accent in his speech; George Cooper impersonates an American who apparently knows his machine guns; and Gregory Gaye portr.ays a Russian officer. In this connection, the dialog gives evidence of careful preparation, since the speech of each man appears indicative of his nationality and breeding. Myrna Loy is not only attractive but highly competent in her role. Baxter kidnaps her after his assumption of desert power and assigns her to his native sergeant to be treated as a servant. In revenge, she conspires with the Arab ruler to overthrow the Legionaire. Baxter has sent two of his men to bring in a shipment of machine guns and ammunition. When they are attacked by the Legion forces, they lose the arms, but trap the attackers in a fort. Baxter goes to the aid of the German, and is faced with the dilemma of killing his own former comrades or losing the precious munitions. Meanwhile the Arab ruler has attacked the fort separately, and Baxter, suddenly turning his forces about, repulses the Riffs and saves the Legion squadron, though he is himself killed at the girl's instigation. The plausibility of the conclusion as well as its real punch indicates fine adaptation, while the direction is excellent particularly for the pace retained throughout the film, which does not lag in any instance. Bela Lugosi, Hungarian actor of the legitimate stage, gives a fine performance in the role of the egotistical Arab ruler on whom the girl exerts sufficient influence to satisfy her revenge against Baxter. Another high spot in the work of an excellent cast is the portrayal by C. Henry Gordon of the part of the captain of the Legion station. The role called for several dramatic sequences which he handles with a fine sense of the requirements of the part. Altogether, this is a striking picture, crowded with action in a popular story setting and featured by a high class performance. — Charles S. Aaronson, New York City. THE BAT WHISPERS PICTORIALLY PERFECT! Produced and distributed by United Artists. Directed by Roland West. From the stage play by Mary Roberts Rinehart and Avery Hopwood. Assistant Director, Paul Roe Craivley. Photography by Ray June. Recording, J. T. Reed. Edited by James Smith. Cast: Chance Ward, Richard Tucker, Wilson Benge, DeWitt Jennings, Sidney D'Albrook, S. E. Jennings, Grayce Hampton, Maude Eburne, Spencer Charters, Una Merkel, Wm. Bakewell, Gustav Von Seyffertitz, Chester Morris, Hugh Huntley. Charles Dow Clark, Ben Bard. R, OLAND WEST, United Artists director who scored with "Alibi," gave the preview critics "The Bat Whispers," taken from the stage play, "The Bat," by Mary Roberts Rinehart and Avery Hopwood, on wide film carrying the trade name Magnifilm the other night at the Wilshire theatre. The combination of scenic effects, intelligent camera direction and camera work and background gave the critics and the preview audience an hour and a quarter of real entertainment and revealed conclusively what wide film can do in the matter of making a picture a work of art. West apparently has devoted so much time to making a pictorially beautiful picture that he has not emphasized as greatly the other factors which make an outstanding mystery thriller. Chester Morris, the hit of "Alibi," seemed to over-act his part. Furthermore, his makeup was so extreme that one was able to guess the plot. The success of a mystery play is based on the fact that it grips the audience to such an extent that every spectator believes that he or she is playing a part in it. "The Bat Whispers" left me sitting right out in the audience, watching. Whenever the audience began to get thrilled and started gripping the arms of their chairs, the suspense was lifted by this or that. At the conclusion of the picture, Chester Morris stepped from his role, came onto a pictorial stage, and asked the audience not to reveal any secrets, so this binds me to waive the details of the plot. The acting honors are won by Maude Eburne who, as Lizzie, the maid, appears frightened in a most realistic manner and sends the audience into gales of laughter with her antics. The