Independent Exhibitors Film Bulletin (Sep 1934 - Aug 1935)

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INDEPENDENT EXHIBITORS -FILM BULLETIN WHAT THE CRITICS SAY about the current films . . . Excerpts of newspaper and magazine reviews HOLD EM YALE Paramount With Patricia Ellis, Cesar Romero New York Herald-Tribune ". . . Damon Runyon's latest screen yarn emerges as a hilarious and altogether entrancing farce. ... It is Mr. Runyon's conceit to make four ticket scalpers the heroes of the work, and it is the incredible adventures of these mugs in circles of polite society that give outline to the plot and humor to the situations. ... It is probable that you will find some of the lines obscured by your own laughter. New York Times ". . . . Makes for a hilarious time. . . . The first of Mr. Runyon's stories since 'Little Mis9 Marker' that Hollywood has been able to adapt successfully for the screen. . . . William Frawley is superbly comic as the gloomy Sunshine Joe . . . and he has the admirable assistance of Andy Devine, Warren Hymer and George E. Stone a9 his goofy confederates." Philadelphia Record ". . . Rich in characterization, and its humor is bright and infectious. Furthermore, it is acted with complete understanding and conviction by the important players. ... It is all ludicrously fantastic in the usual Runyon style." CO INTO YOUR DANCE Warner Bros. With Al Jolson, Ruby Keeler Baltimore Sun "... A swell entertainment or a colossal bore, depending on one's personal opinion of Al Jolson. . . . The plot is just another variation on the oldest back-stage formula known to man, and the story is sadly lacking in comedy relief. . . . Jolson gives the best he has to the role, and his admirers should be fully satisfied with his performance." Philadelphia Ledger ". . . Al Jolson hasn't had so good a vehicle in a long time. . . . About the only serious point of criticism which can be lodged against the photoplay is its overinfatuation with dance and spectacle routines. They are many and elaborate and also long. They sometimes get in the way of a good melodramatic yarn. . . . Several good songs." ONE NEW YORK NIGHT Metro-GoldwynMayer With Franchot Tone, Una Merkel Philadelphia Record "... A tongue-in-cheek comedy that pokes good-natured fun at murder-mystery thrillers. It fairly bursts at the seams with wisecracks. . . . Never quite hits the mark it aims at. . . . Convincing performance by Tone. . . . Stuffed too full of dialogue and its wisecracks lose much of their force because of the determined way they are crammed into the script." Philadelphia Ledger ". . . The talking is compressed into one evening, although there is reason to believe that the principals would have had sore throats from chat tering so continually. . . . Several moments of good suspense. . . . Franchot Tone tries hard, but vainly to make his speeches sound as amusing as they were intended to be." RECKLESS Metro-GoldwynMayer With Jean Harlow, William Powell Baltimore Sun ". . . Many striking similarities to a sensational story which occupied the front pages several years ago. . . . Satisfactory film entertainment. . . . William Powell gives a brilliant performance. . . . Jean Harlow flings her voluptuous person about in any number of alluring attitudes and gestures. . . . The story as a whole may lack unity and strength, and may be at times silly, mawkish and trite, but it has been carpentered and buttressed by expert showmen. . . . One or two song-and-dance routines are worked in for Miss Harlow's benefit." New York Times "... A stale and profitless meringue of backstage routines and high society amour. ... In a surface style of fake sophistication and strained humor, the work rewrites a lurid society scandal which was hot in the news several years ago. . . . Basically mediocre." New York Herald-Tribune ". . . Hardly among the classics of the season, but it does possess a certain unashamed melodramatic effectiveness. . . . Despite a certain cheaply entertaining quality in 'Reckless,' it is essentially pretty shabby stuff and it is entirely due to the alluring qualities of the star that the film manages to capture any trace of effectiveness." Philadelphia Record "... Aimed so determinedly at the boxoffice it misses fire by overeagerness. . . . For all its strenuous attempt after sparkling comedy, 'Reckless' seldom achieves real freshness. . . . Likewise, the dialogue, intended to be light, is sometimes forced and uneasy." BREWSTER'S MILLIONS United Artists With Jack Buchanan, Lily Damita New York Times ". . . Although the English ladies of the ensemble are lovely, the tunes quite acceptable and Mr. Jack Buchanan an able and versatile performer, the film never comes off as musical comedy. . . . When the piece is being played straight, it is always bright and amusing in a slightly desperate British style. . . . But 'Brewster's Millions' is more hilarious in theory than in practice in this British rendition." Philadelphia Record ". . . Sadly lacking in pace, rhythm, fluency and freshness — which is another way of saying that it is often quite dull. . . . There's hardly one good laugh in all of Mr. Buchanan's dainty antics." SONS OF STEEL Chesterfield With Charles Starrett New York Times ". . . About as unexciting and meaningless a drama of industry as the Chesterfield studios could have produced. ... It presents the case of the brothers Chadburne, steel barons, and their sons. . . . Here was a fair opportunity for some hard realistic drama. The picture preferred, instead, to wave a magic wand and bring serenity and contentment to all." THUNDER IN THE EAST United Artists With Charles Boyer, Merle Oberon Philadelphia Ledger ". . . Skillful direction and impressive performances are brought to bear on a plot that is decidedly above the surface type story of the conventional screen. . . . Charles Boyer scores again. . . . Merle Oberon is just as perceptive as his wife. . . . Numerous bits of tense drama have been woven into the plot, but above all the external action, is the deftness with which Boyer and Miss Oberon assume the philosophies of an alien race." Philadelphia Record ". . . So interesting is the point of view, that while the film's pace is often tedious and its accents none too pleasant, it provides a sound foundation for an extraordinary screen piece. . . . Gives an illuminating prospective on the Japanese ideology. Disciplined, intensively nationalistic and deeply steeped in the traditions of his religion, all the while he is assuming Western manners, clothes and culture, Boyer's character epitomizes the modern Japanese. . . . Miss Oberon's work is far superior to anything she has done in American films. . . . Gains in importance and merit in retrospect. But the general excellence of the production, performance and story does not compensate entirely for its unpleasantness and often tiresome pace." CARDINAL RICHELIEU United Artists With George Arliss New York Herald-Tribune ". . . Mr. Arliss has never been more suave, deft and sweetly diabolical than he is in this immaculate impersonation of the Machiavellian prelate. ... A pretty lively screen play that manages the court intrigues and the dynastic wars of Louis XIII's France with dramatic effectiveness. . . . The tale of the Cardinal's triumphant schemes is interesting and even exciting. . . . The production is admirable and the whole picture, in its stately way, is a good costume show." New York Times ". . . It achieves an air of theatrical excitement. . . . Has the virtue of allowing Mr. Arliss the best opportunity he has had on the screen since 'The House of Rothschild'." Philadelphia Ledger ". . . Of the many historical productions which have occupied George Arliss' attention on the screen, 'Cardinal Richelieu' emerges as the most completely satisfying. It has more dash and sweep of story than its predecessors and it has been produced with the lavish touch. . . In pom! of cast the film is particularly well endow!, with expert players even in the minor roles. . . . Moves swiftly and convincingly against the e<citiug b«ukground of court intrigue." Philadelphia Record ". . . Always amiable and often dramatically exciting. ... A pretty romance is woven through the ornate brocade of court intrigue and political maneuvers. . . . The sets are magnificent."